Among the several modes of representation at work in Soutter's third film, the opposition documentary/fiction is central. In front of a large regional map a journalist who is preparing a broadcast on Lenin's time in Geneva enumerates to camera his various addresses, and the film documents each of them. When the last of these, 61 rue des Maraîchers, is shown, a woman with a suitcase walks into the building, initiating the fiction: Later we see the journalist's office as part of the fictional world (the camera angle has changed), as the scene of a discussion between the journalist and a work colleague: The work colleague is the former boyfriend of the woman with the suitcase. We see him tracing on a map his way to the building she had arrived at. Immediately afterwards, the journalist plots on the same map some locations associated with Lenin, including that apartment building: With the eventual implication of the journalist in the fiction around the woman, the documenting of Lenin's years in Geneva is abandoned. Rather, the film ends on alternative fictional modes - song and slapstick:
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