After 24 Hour Psycho (1996), Douglas Gordon in Feature Film again turns to the experimental deconstruction of a film classic by Alfred Hitchcock. In this 80-minute movie, he separates Bernard Herrmann’s film music for Vertigo, re-recorded in a studio by the Orchestre de l’Opéra Nationale de Paris, as a central element of cinematographic affect manipulation from the narrative devices of image and dialog that are otherwise the focus of attention. The music becomes the score suggestive of a new drama: the eloquent facial expressions and gestures of the conductor in chief, James Conlon. The isolated soundtrack sometimes seems incomplete and meaningless as the background to a narrative that now exists solely in the memory, but at the same time gives a psycho-dramatic charge to an event that normally takes place away from the screen image.