ABSTRACT
One of the most surprising developments in the recent evolution of cinema is the inscription of filmic language as an operator in the space of everyday communication. The space of everyday communication refers to interac- tions with communicative intent between ordinary people (including with oneself) about the ordinary affairs of everyday life. What is of interest here is when filmic language is used to communicate common interests, what happens when nothing is happening or, according to Georges Perec, “what happens every day, and comes around every day, the banal, the everyday, the obvious, the ordinary, the ultra-ordinary, the underlying noise, the habitual” (1975, 253).
