without either Isabelle or Hanna but instead with a waitress from the motel. Isabelle and Hanna connect up with each other and also decide to go to Poland. Cast Jerzy Radziwilowicz - Jerzy Isabelle Huppert - Isabelle Hanna Schygulla - Hanna Michel Piccoli - Michel László Szabó – László Myriem Roussel – One of the nude models Sophie Loucachevsky - Sophie The tableaux vivants Though the original paintings which the tableaux vivants portray are frozen in space and time and can be studied at leisure in two dimensions, in silence, the film makes them three-dimensional. The camera moves around the actors, who move in and out of position, the lighting varies and recorded classical music plays. However, viewers are given no chance to appreciate any of the tableaux in any depth because only partial views are shown for relatively brief moments. Rembrandt The Night Watch is intercut with views of Isabelle working in the factory. There is discussion over what story the painting is telling, or whether it has no story at all, over its intricate construction, and over the source and intensity of its lighting. These three themes echo throughout Passion, which has continuing arguments over the significance of plot, the relationships between characters, and the inadequacies of artificial light (symbolising the artificiality of cinema itself). Goya Accompanied by the Introitus of Mozart's Requiem, elements of four Goya paintings are shown. At first only the woman from the apparently innocent pastoral scene of The Parasol can be seen, who then walks towards the firing squad in Third of May 1808 and is enmeshed in the horrors of war. In the background can be glimpsed La Maja Desnuda, exuding sexual allure, while actors are getting ready for Charles IV of Spain and His Family. Inserted are shots of Isabelle asleep in her apartment. Ingres Paintings of nude women in Turkish baths, such as The Valpinçon Bather and The Turkish Bath, are only recreated in fragments, interrupted by episodes in the motel and in the factory. The naked actresses in the studio continue the theme of desire, typified by the Naked Maja, while the outside scenes reprise the world of work. When Jerzy is not content with the lighting, as usual, the producer asks him what is «the right light». He responds by plunging the studio into darkness, to show that it is a place where lighting can never match reality,