The concepts of manipulation of images associated with their distortion and disintegration were, from a very early stage, developed by the experimental cinema and artistic avant-gardes. In the case of cinema, the processes leading to this distortion are different, from the action of time on the film to the chemical or physical processes, as well as the effects caused by the montage, overlapping of images or others. "Distortion" is included in this genealogy of experimental cinema, but in this case, it uses the aesthetic potential of digital coding for the protection against the reproduction of films: by copying the encoded moving images, they are transfigured into strange patterns as well as into distorted or imperceptible shapes. For this purpose, Lydia Nsiah used DVD-encoded compilations of historical experimental films (Duchamp, Léger, Len Lye), thus creating a second-hand deformation. Beyond the visual result, Nsiah reflects on the fact that, for the first time in the history of cinema, distortion, rarely or never assimilated by the mainstream cinema, is portrayed as a commercial tool (of copyright protection), and not as an artistic creation process. (MD)