, to the materiality of its support: the long black shot after Hilditch's suicide in

, 295) has described that hereafter of visibility by saying that 'Voir c'est toujours voir plus qu'on ne croit -il ne faut pas le comprendre dans le sens d'une contradiction, il faut comprendre que c'est la visibilité qui comporte une nonvisibilité.' [Seeing is always seeing more than what we believe -that should not be understood in the sense of contradiction; it should be understood that visibility involves a non-visibility.] This non-visibility has to be discovered in the shot at the beginning of Calendar, a fleeting, fragile and ghostly shot of Mount Ararat which is shying away from our very vision, which is manifesting something hidden. Related to what Egoyan said to Hamid Naficy (2010: 65), this non-visibility has a much stronger meaning than a simple representation of the mountain: 'The most autobiographical element in the films for me is the notion of the submerged culture. The notion of a culture that has somehow been hidden, either for political or for personal reasons, Felicia's journey, with scratches and dusts, or the white noise in Speaking parts. Then, these pictures that reach the limit of visibility suppose that there is something to see beyond this invisibility. Merleau-Ponty, 1964.

. Regarder, ce serait prendre note que l'image est structurée comme un devant-dedans inaccessible et imposant sa distance, si proche soit-elle. Car c'est la distance d'un contact suspendu, d'un impossible rapport de chair à chair. Cela veut juste dire que l'image est structurée comme un seuil

, That simply means that the image is structured like a threshold.] (1992: 192) To conclude, let us return to the customs. Curiously, a scene is recurrent: a young woman reaches the customs, pregnant, pursued by the theme of one film to another one, as if the child that Felicia is carrying has grown in Simon's mother's womb. In Exotica, Thomas is experiencing a kind of pregnancy: he is carrying eggs around his stomach. In this link between gestation and border crossing, there is a metaphor of the cinematographic creation process. The passage of frontiers, the quest for identity that goes with it, the secret and the endless interference are its catalysts

H. Naficy, It is blatant in Next of kin, Family viewing, The Adjuster, Ararat or Adoration. Yet, this identity construction requires us to decide the scenario (Did Simon's father love his mother or want to kill her?), to take on a role (like Peter who becomes Bedros) and to represent (staging his grand-mother as a tramp in Family viewing or staging an auto-da, p.35, 2010.

, Cinema itself is thus in gestation, beyond what is simply visible, in these shots of

F. , Simon's mother or Thomas, crossing the border carrying a child or birds

R. Bellour, L'Entre-Images: Photo, Cinéma, Vidéo, vol.15, 1990.

R. Comay, Krapp and Other Matters: A Conversation between Atom Egoyan and Rebecca Comay, Atom Egoyan Interviews, pp.128-158, 2010.

G. Deleuze, Cinéma 2 l'Image-temps, The Time-Image] Paris: Editions de Minuit. Translation: Tomlison and Galeta, vol.2, 1985.

G. Didi-huberman, Ce que nous voyons, ce qui nous regarde Paris: Editions de Minuit, 1992.

M. Merleau-ponty, Le Visible et l'Invisible; Suivi de notes de travail [The Visible and the Invisible, Followed by Working Notes, Gallimard, Tel, 1964.

H. Naficy, The Accented Style of the Independent Transnational Cinema: A Conversation with Atom Egoyan, Atom Egoyan Interviews, pp.21-76, 2010.

J. Wood, Atom Egoyan' in T, Atom Egoyan Interviews, pp.104-113, 2010.