'Tour pour moi devient Allégorie': Yervant Gianikian and Angela Ricci Lucchi begin their film Nocturne, shot in the Yugoslavia, with this quote from Baudelaire. The film is composed of three sequences shot at night, fragments from everyday life in which the war is nowhere to be seen. The first shot shows a gypsy gathering, the second shows young people on a balcony unpacking a hi-fi set, and the third ends the film with slowed-down and blue-tinted archival footage of a woman. these scenes only relate to the war via the viewer's allegorical interpretation. The filmmakers thereby allow the audience a great deal of space for interpretation. The shots of the celebrating gypsies can be read either as an image of persecuted minority or as a metaphor for a society's peaceful coexistence, a coexistence which is quickly receding into the distance. 'Je ne vois qu'infini par toutes les fenêtres', reads a subtitle. In Nocturne, the view through the window of the camera literally opens up countless worlds and infinite int