"Galoup's acrobatic dance appears to take place in the same Dijbouti disco/nightclub featured throughout the film— the same back-wall mirror, the same flashing lights. And yet, the space no longer serves the same narrative purpose, nor is it filled with the same crowd. Deleuze identifies the indeterminacy of location in modern cinema—achieved in the proliferation of the "any-space-whatever"—with the ability of space to change co-ordinates suddenly and without apparent justification. In these instances, space may be said to change faces, to disguise itself under an array of masks or cloaks that render it as seductive as it is unfathomable.
"During his final performance, Galoup/Lavant increasingly lets his body be overtaken by the rhythm and abandons himself to a kinetic pattern whereby he seems to lose control of everything except his ability to be immersed in the rhythm. Unlike the Lacanian model of specular (mis)recognition, which describes the child as deriving a sense of jubilation from the illusory coordination and wholeness projected in front of his uncoordinated body, Galoup/Lavant seems to derive jouissance from a maddening loss of control, perhaps not so much of a corporeal centre as of a fixed sense of corporeal limits or boundaries.
"One of the most compelling features of Galoup/Lavant's dance is that it doesn't follow a smooth or consistent rhythmic pattern. Instead, it can be described as a hesitant pattern of fits and starts, and of abrupt, deliberate stops. Such kinetic fragmentation is nonetheless consistent with Galoup's character, which wavers between a militarised and rigid control of the body and the final, seemingly unaccountable, release of affect."
"Performing the narrative of seduction"
Elena del Rio