The chaos of Passions, knowingly or not, evokes Federico Fellini. But Fellini without a centre: without “the crisis of the artist” or “the loss of time, history and memory” or “the world as it changes from one era to another”. All enthusiasms in Muratova are small, minute, obsessive – even microscopic. They spin their web wonderfully, but don’t take up so much space. This is why she uses the hinge-overlap method: it’s a lapidary style, the webs join up and combine, extending in every direction.