Hard is the opposite of soft. Hard implies exact measurement, substantial confines, clear distinctions: Physics. When Chick Strand made Soft Fiction in 79′, however, she made a ‘soft’ film: It wasn’t about ease, contemplation nor about comfortability. Soft implied the permeability of the boundary, the complicated relation between abuse and desire, the performativity between the camera and its pornographic evidence. Soft Fiction takes the world as a diagram whose very internal sexuality may be explored through delicate constructions. Or rather, it is only the detail allowing us to explore what appears to be the same but different.