ASSASSIN explores the seductive spectacle of crime asmanifested in cinema through the subjective depiction of the archetypal character ofthe assassin. ‘Assassin’ takes as it starting point the plotting of a murder by acouple in love. Using a mosaic of film fragments - clips, music, subtitles, dialoguefrom French cinema - ‘Assassin’ creates a new text in which the binding effects ofnarrative have been dissolved. Part picture puzzle, part fragmented image-sequencethe film operates as a form of inner speech, often disconnected and incomplete. Byreworking the image and dialogue of these cinematic meta-narratives ‘Assassin’restores a singularity to notions of collective memory.