In the fall of 2011, Tracés, the Swiss architecture journal published without interruption since 1875, asked five Paris based film critics to contribute with a new rubric. Called La Dernière Image, (The Last Image), it consisted of short texts investigating unknown architectural aspects in feature films.

A Mies van de Rohe building in a Cronenberg’s early zombie thriller, Ricardo Bofill’s urbanism in an 80’ French slapstick comedy. Bringing the background in the foreground, the collective held this rubric for three years producing more than 50 incisive texts.

In the meantime the Swiss Cinemathèque decided to start a screening cycle based on this editorial project. La Dernière Image was a breach in a somehow rigid editorial line making room for new discursive practices.

Despecifying the medium, it allowed an extra architectural scope. Confronting architecture and cinema, new technologies or digital edition, this process makes possible genuine architectural critical discourse.