In consecutive sequences of couples kissing (the reels, shot in fixed-frame close-up, roll by, ragged film ends and all) we witness the kiss in its many variations, from passionate to impassive, tender to uptight. The power of the close-up kiss was only suggested in Hollywood films from The Kiss (1929) to A Place in the Sun (1951); here it is extracted from narrative content, refined and abstracted. Kiss becomes a meditation on what the camera can find in a human face, so that the most minute movement of cheekbone or eyelash becomes an event, action. With time, and at 16 frames per second, the kiss is further distilled so that the image becomes what it is: a black-and-white configuration. Documentary, anti-genre, realism, put-on, Kiss is also a cinematic act of voyeurism, innocent foreplay to Couch (1964).