If Jane Birkin first appeared before Annie Ernaux’s camera in Portrait, and would return at the end of her life to stand before her daughter Charlotte and the latter’s camera to be part of a “double portrait” that includes them together, then she was not wrong when she “stood” between the two films before her own camera in Boxes to present, through a fictional narrative, a kind of “self-portrait” that completes a kind of trilogy that ultimately puts us before: a woman who, through her own story, tells the story of all women. The story of Boxes begins in the aftermath of Jane’s father’s death, when she finds herself surrounded by boxes of memories. These boxes, filled with pictures and small details, were all that remained of her life. Within them, Jane discovered the tapestry of her relationships, especially the familial ones that had shaped her. She explored her connection to her three daughters, each born of a different father, and to her own mother, the other woman in the film. Jane’s “self-portrait,” presented through the fictional lens of Boxes, is a testament to the power of memory and the resilience of the human spirit. It remains to be mentioned here that Jane wanted to give her own role in the film to Geraldine Chaplin, but she refused because she was much older, preferring to play the role of her mother. Ibrahim Al Ariss