The target of tabula rasa is the heart of cinema: Voyeuristic desire as the pre-condition for any cinematic pleasure is here at stake. What Christian Metz and Jacques Lacan have established in theory is rendered as film in tabula rasa.
At the beginning we see only shadows from which the picture of a woman undressing herself hesitantly emerges. But finally at the potential point of recognition, an image of the camera is bi-packed with the image of the woman, thus obscuring our view of her. tabula rasa takes the fundamental principle of voyeurism, namely distance, literally: It shows us the object of desire but continually removes it from our gaze. (Gabriele Jutz)