Oh Joan, No

O Joan, no… begins in darkness; abstract darkness; primordial darkness perhaps. As the film progresses the darkness is interrupted by light or a light. A random sequence of lights ensues – theatre lights, streetlights, household lights, the lit end of a cigarette. The camera greets these interruptions in the darkness with alarm, reticence, perplexity, curiosity. The accompanying voice emits a series of grunts, moans, sighs, laughs. Nothing happens. Duncan Campbell