Duras and Bruno Nuytten, the camera person, shot this film on location for the second time at Palais Rothschild after India Song. The experiment with lighting is remarkable—they constantly seek for backlight and as the plot returns to India Song, the narrative is constructed completely through voiceover and entirely free of actors, while the camera only wanders in the abandoned mansion where India Song was shot. Son nom de Venise dans Calcutta désert is an extreme ‘double’ of India Song, a cinema of text, destroying the cinema of actors. In the film she observes the colonialist society that equally affects the colony as well as imperialist Europe, asserting that the discursive structure of imperialism deprives everyone, both the colonial overlords and the subjugated.

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