In “Water Work” (1987), Tony Hill leads us towards the other side of the mirror, opening his movie with an underwater point of view that turns what we assume to be the hard edge of a pool into something as round as the circular shape of Cornell’s fountain. Here, it is the linear representation of space that is called into question. The swimmer’s own body, when cut by the waterline, contradicts the weightlessness we experience inside a pool, since the submerged part of his body seems visually bulkier than the one above the water. This underwater body weightlessness recalls an incorporeal space, when, deprived of speech and able to rotate freely, we look like either astronauts or ghosts. Diogo Costa Amarante (adapted)