Like a modern, misunderstood, prophetic Sherezade, Cassandra tells several stories. Basically it is the story of a woman who penetrates deep in the Impenetrable provoking another journey, a journey towards the interior of itself. And on these journeys he takes photos, questions, reports, forms a story, interrogates himself, writes. "Everything is a matter of framing," says Cozarinsky in the role of one of the interviewees, drawing the heart of the film. Cassandra plays its significance in the framing; in the way the director approaches and distances herself from her materials, in the subtlety with which she mounts the images and cuts them, in the arrangement of the bodies in the plane; in short, in what is seen and what is hidden. But in addition the film works with the close relationship between time and space, between the continuous and the transient, between the dwelling and the journey.