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Caroline's paper proposes to revisit a classic of women's cinema, Jane Campion's The Piano (1993), and to explore the resonances between the movie and Luce Irigaray's concept of the interval. The latter is at once a spatial and a temporal concept, and therefore lends itself well to cinematic analysis. The Piano is driven by a formal framework that relies consistently on the opposition between nearness and distance and that echoes Irigaray’s theory. Caroline wants to argue that both the philosopher and the filmmaker develop a feminist ethics that is grounded in a similar understanding of spatiality.