Aside from the fascinating and heterogeneous qualities of the resulting audiovisual objects, colorful jigsaws of the most underground and feminine side of the post-punk period, perhaps the most interesting aspect of their work lies in its role as an inherent invitation to take a closer look at the original sources. They are documentaries from the period, filmed all around the world, such as Northwest Passage: The Birth Of Portland's D.I.Y. Culture
(Mike Lastra, 2007), Debt Begins at 20
(Stephanie Beroes, 1980) about the youngsters of the new wave scene in Pittsburgh (Pennsylvania), The Wellington Scene
, filmed in New Zealand, (Chris Knox, 1980), the Japanese film Rockers
(Hideaki Tsushima, 1989) or the feature for Icelandic television Rokk í Reykjavík
(Fridrik Thor Fridriksson, 1982) featuring an already remarkable, very young Björk
, who was lead singer at the time for the band Tappi Tíkarrass
. Camille and Constance also hit the nail on the head by interspersing their stimulating compendium of music videos and documentary clips with scenes taken from obscure cult films, like the German Portrait of a Female Drunkard. Ticket of No Return
(Ulrike Ottinger, 1979) or Whatever Happened to Susan Jane?
(Marc Huestis, 1982), a camp classic that captures crazy times in the Castro district of San Francisco.