If you were wondering where Thelma and Louise landed after the freeze frame, that place is called Messidor. Thirteen years before T&L, Tanner filmed the odyssey of two young women who take to the road and prove that, in a society in which social rigidity insures economic prosperity, wanderlust is an act of terrorism. Jeanne and Marie meet by chance while hitchhiking. They set themselves a spirited challenge: to continue on, even after their money runs out. But, as we saw in Agn?s Varda's Vagabond, country hospitality was never meant to be extended to female nomads. After a violent encounter with a father-son rape team, they steal a gun for protection and use it to commit minor crimes to get food and lodging. Meanwhile, the nightly news chronicles the progress of the supposed terrorists. Paced more as thought than as action, or action felt as an ever-deepening anxiety, Messidor offers a two-fold vision of the Swiss landscape: beautiful, frameless horizontals are countered with aerial views of the open road that reveal a closed network.