Whispered voices announce the death of a girl. Around her, kneeling teenage girls watch her, intent. Once again, they whisper and repeat in chorus "light as a feather, stiff as a board," a magic formula drawn from the depths of time that accompanies the carrying of her body, in near levitation. We are in the living room of a house, dimly lit, candles scattered everywhere, popcorn spilled on the sofa. From the outset, Site of Passage evokes, through its motifs and decor, teen movies featuring young witches and horror films from the 80s and 90s, where pajama parties turn into anguish. In Crashing Waves (FID 2021), Lucy Kerr made the reverse side of images, taken from genre cinema, her object of study. It is to reduction that she applies herself in this film, emptying her setting of all horror to retain only the invisible trace and suggest it, in a brief and stripped-down gesture. Here, no morbid stories but a series of mysterious gestures, performed by six adolescent girls with angelic faces. The lightness of the games they indulge in offers a counterpoint to the fantasized horror, despite the persistence of a disturbing strangeness. To the creaking of the parquet floor caused by the young girls' movement, the minimalist sound treatment adds a continuous background noise, that of the cinema machinery, a ghostly presence in the middle of the room. A final image shows them sinking and straightening up, supporting each other, in a game of weight and counterweight. Lucy Kerr offers a choreographic variation suspended in time, and represents adolescent sisterhood in ritualized union. As in this final painting, where the pastel colors blend into the ballet of intertwined bodies, which, in this place of passage, seem to become one.