In the first scene of Paul Morrissey's 1968 film Flesh, the viewer is taken on a brief journey through the streets of New York City. The perspective adopted is that of a passive observer watching the life of the main character. The camera does not tamper with the images or try to impose a new meaning on them: we see the sequence of events as they actually unfold. Throughout the film, the main theme is centered on the banality of the protagonist's existence, and his state of restlessness is reflected in both the technical and organic aspects of the film. The opening shot appears to have been taken with a handheld camera, as it is a little shaky and there is some background noise. We are immediately introduced to the character. At first we see a reflection of him, then the camera pans until we can see his entire body. His head is turned away, so we can only see his profile. He wears casual clothes and a red headband. We know he's in New York because we can see the Queensboro subway station behind him. He looks to the side of the camera while making some quick cuts. He crosses the street and the camera is behind him, at a safe distance. She zooms in and out and makes another series of quick cuts as she watches him read a newspaper. It's never really in the center of the frame and doesn't appear to be the main focus of the camera. We see people passing by and blocking our view and we also see him from behind. The next shot, at 1:50, shows him from behind while conversing with someone, whose face we can't even see. The next shot shows him sitting in a car, smoking a cigarette. Another man approaches him and they begin to talk briefly. We can't hear what they say. After another series of cuts, in the center of the paper, the concept of suture is also played with in relation to the role of the public. We enter into a dialogue with the film (using the field/controversial/field cut/exclusion technique/??), but then we realize that something is missing, the camera hides something from us (faces, names, words, etc.). The scene is not complete and we as the audience can only be passive observers. This is further demonstrated by the camera angles and how the camera seems to follow the protagonist rather than being side by side with him. Paul Morrissey has created an atypical film in which we see the banal existence of a character through the focal point. of a discontinuous and broken editing style. This clip takes the viewer by surprise as it does not follow the conventional norms that we as an audience are familiar with, such as smooth transitions, clean editing and sound dubbing.