Martha Rosler stands in front of the camera wearing an apron and surrounded by household instruments. In a framing that harks back to the universe of 1960s cooking shows, she goes through the alphabet, naming an object for each letter. However, the way she manoeuvres each of these instruments, with movements punctuated by anger and frustration, makes us question our view of each of these domestic tasks — and of those who carry them out. Rosler’s gesture is repeated in films by Almodóvar and Akerman in this cycle.