Keren Cytter is a storyteller. Her work analyzes the construction of mainstream films, and the narrative devices and editing tricks they include. To this end, Cytter draws on numerous mediums, ranging from film noir to “mocumentaries” to pure cinéma vérité. In Der Spiegel (The Mirror), her characters allude to the cinematic mechanism’s tricks by commenting on the subtitles, or by greeting each other in a manner that can only be achieved in the editing process. Cytter’s short stories combine commonplace events with mysterious and absurd elements, which create an equilibrium between comedy, tragedy and grotesque. Her films document her environment, apartment, friends and family, who operate in a kind of dream world populated with egocentric goals, deepseated frustration, personal ambitions and intimate desires. Cytter deconstructs traditional narrative structures by disrupting the compatibility between image and sound, thus turning attention to the cinematic medium itself. The surprising reality revealed by the narratives becomes increasingly more arbitrary.