When Pam Cooper creates a floating house of paper and pins, when Caroline Burton mimes a Jasper Johns white
target in bubble wrap, or when Alison Weld pairs a thick abstraction with fake fur, finding a protective separation between male and female spaces grows a little more difficult.
If that shift is a nod to the film's
target audience, it's probably spot on: this is a sanitised,
bubble -
wrapped picture of the global village that provides ersatz - serious viewing for those seeking reassurance about the big lie of the twenty - first century — that We're All
In It Together.