More than thirty years ago, I had the opportunity to attend a retrospective of films directed by Marguerite Duras. I must admit that those films, which I watched with amazement and admiration at the time, were among those few moments that decisively influenced my future research work. So many questions arose from her transgressive cinematic discourse. I came to comprehend the problem of lacking a language and, consequently, the impossibility of utterance, as pointed out in numerous feminist theoretical elaborations, and it was through Duras’ unique procedure of dissociating the cinematic image from the actors’ voices and the film music. Many years later, I came across her statement concerning the necessity of utilizing voice-over. In her 1979 conversation with Jean-Luc Godard, which revolved around his need for images and her need for the text, for the written, as she called it, Marguerite Duras said: “On the screen, I need both things, neither of which gets in the way of what I would call ‘the amplitude of speech.’ In general, I find that almost all images get in the way of the text. They prevent the text from being heard. And what I want is something that lets the text come through. That is why I made India Song in voice-over.”