New York filmmaker Yvonne Rainer's affecting experimental narrative is, on one level, a study of two opposite women in love-“you say sponge, I say loofah”; on another, an analysis of the politics of cancer. Mildred, in her fifties, is an English professor; Doris, in her sixties, was married, raised a daughter, and writes comedy skits. Their class and religion differ; even cooking requires separate pots. Doris's mother and Mildred's younger self also appear, as ghosts from the past, witnesses to the protagonists' evolving, much-discussed relationship. Self-conscious and self-reflexive like all of Rainer's work, MURDER and murder is at once humorous and emotional, distant and intellectual. Rainer herself appears and speaks to the audience; she provides analysis of the film, personal reflections, and social commentary, centered on her discussion of her own breast cancer. MURDER and murder is disconcertingly moving as it deconstructs murder by prejudice, repression, and chemical pollution, while constructing a means of making both lesbians and mastectomies visible.