One may think that a work such as "Fragile" both differs and does not differ from all the formal researches undertaken by Mounir Fatmi, an artist who never fails to confront any social and political fact of the world i n general and of Morocco in particular. However, "Fragile" places us in the heart of a total decontex-tualization, outside of any possible world, and nevertheless it does not in the least take us away from humanity and its great existential interrogations. With an accomplished command of his art, the artist acts in such a way that we do not have the slightest exhaustive visual apprehension of bald black and white scenes, virtually "autistic" scenes which are characterized by a powerful coefficient of abstraction. There is also an electric and anxious tension, close to asphyxiation, which keeps the spectator in a state of expectancy which, in turn, draws him close to or takes him away from what is unusual towards what is familiar and vice versa, like the movement of a frightening metronome.The nodal "Object" of this film (which, beyond its specificity as a work of art, amply deserves to be characterized as a work belonging to purely experimental cinematography), outlines both meaningful and opaque stakes between two individuals.

An excerpt from the text "fragile" by Michele Cohen Hadria.