By ‘touching’ a macro-history with the cinematic lens and transforming it into a micro-observation in a semi-fictional way, the viewer has the dislocation and illusion of moving between different social, geographical and cultural images. The “dislocated” and “de-territorialized” appropriation is also in line with the way contemporary images are produced, in a hybrid and heterogeneous state. In the artist’s view this approach reveals ‘the skin of the object’, ‘the skin of history’ and ‘the skin of the film’.