If Hermosillo claims Hitchcock as one of his chief influences, then Bathroom Intimacies may be his Rope. Here, the camera point-of-view is fixed throughout, behind the bathroom mirror in a bourgeois home. A place of refuge becomes a site of revelation for a family whose tiled privy is a point of pride-part throne, part Grand Central Station-and finally a microcosm of their world. A melodrama, in which four family members and a maid take part, unfolds episodically. Characters come and go, talking to each other and to offscreen others; a suicide lies undiscovered behind the shower curtain; a bitter argument turns violent, then recedes to the suppressed cry that is more typical of these lives played out between bathroom intimacies. For Hermosillo, the chronicler of the bourgeois experience, there is no such thing as privacy. The camera's eye, like the mirror's, never blinks.