The protagonist, Radia Chabane, a professional dancer, is trapped in her life as she is in the static and aesthetic frames, an aesthetic taken to extremes. The film’s slowness generates unease. The spectators become immersed in the waiting, feeling the anguish of the character. Every bite of bread, every step in the countryside, every movement is almost unbearably heavy. Blue Blouse is an uneasy, uncomfortable work, enclosed in an icy artistic device. It confronts us with the intimate emptiness caused by trauma. In a society in which we debate why rape victims take so long - years, even decades - to speak out, Blue Blouse raises questions about the personal relationship with trauma, about the long, heavy process, about the constant hesitation between living and dying, rising to the surface or remaining prostrate in nothingness.