From C/O/N/S/T/R/U/C/T, shown in Knokke, to the diptych Coda I + Coda II in 2013, in which the filmmaker uses a recording of the voice of William Burroughs, we get an overview of Gidals structural/materialist cinema, that refuses a ‘subject-centred image’ and is resolutely ‘anti-voyeuristic’. As for Assumption, it offers an approach to life at the London Film-Makers’ Co-op which goes beyond the history of an organisation and includes a tribute to Mary P. Leece, founder of the Four Corners film workshop. —Olivier Dekegel