Out of fifty feet of footage from a girlie 1950s movie (Apple Knockers and the Coke, featuring Arline Hunter, an actress who clearly attempts to impersonate Monroe), Conner has conjured an allegory of the human cycle of birth and death. He breaks up the tenuous continuity of the original production by reordering poses and distending certain movements via looped repetition or a form of progressive looping in which one movement begins in one shot, is incrementally advanced in the next shot, and so on. Five individual sequences are build around a lush recording of ‘I’m through with Love’; each successive permutation displays pieces of previously unseen footage interrupted by passages of black leader. Conner’s intent, in his own words, “was to take some parts of the found footage and rearrange them to see if the quintessential ‘Marilyn’ could emerge”.