Gerda Frieda Janett Gröger, "born in 1972, astrological sign Libra, egg-swatter", is on the breach. She traces furrows in reality with poetic and punk punchlines and leaves nothing alone (public space, psychiatric denominations, us). Léa Lanoé's first feature film is a luminous and poignant documentary portrait. That said, the filmic object thus categorized, everything remains to be said. Frieda TV remains irreducible to a genre as Gerda Frieda Janett Gröger escapes any attempt to be grasped, fixed, defined. It rather secretes the idea that it is her character herself who puts herself on stage according to her good will, while constantly reminding, by the discreet and tender presence of the director, that the filmed relationship comes from a primordial complicity. It is striking then how much the gentleness of Léa Lanoé responds to the dazzling vitality of Gerda Frieda Janett Gröger. And vice versa. Frieda TV is the testimony of a friendship that made cinema the object of an act of mutual recognition: one agreeing to play the game, the other to make a film. The scenes and moments of life that the filmmaker and her model shared over a long and indefinite period of time are recorded, in 16 mm or DV, and edited at skin level. The whole thing respects and firmly embraces the identity changes as well as the variations in intensity that make and unmake Frieda's daily life. Because she makes the camera her ally, we can bear the frontality of her words that expose the violence of which she was a victim, the intimate disasters as well as the states she goes through. And the film thus produces its double movement: building a path to meet her and translating, through its fragmentary editing, her states of being. Frieda TV is there, at a radiant intersection that questions with rare finesse our normopathic ways, individual and collective, of welcoming those we say are crazy. Claire Lasolle