What was once seen as science fiction or surreal reality in David Lynch’s web series Rabbits (2002), has become a reality. As in many of his works, Bin-Nun plays both roles – that of the son and that of the mother. By doing so, he implies the deep and, at times, inseparable connection between a mother and her child, a connection where the mother contains the child and vice versa.

The blurring and instability are also reflected in the sound – the characters speak gibberish, an unclear and meaningless fluid language that obscures the boundary between words and mere noises. Bin-Nun mocks the verbosity of many banal, trite and self-evident cinematic dialogs. His critical stance brings to mind the opening scene of City Lights (1931), in which Charlie Chaplin commented on the introduction of sound into films and criticized its despotic takeover to the detriment of the image.

The sounds heard in the film also resemble the pre-linguistic muttering and jabbering of infants, which predates the obedience to the symbolic order of language. Julia Kristeva asserts that the pre-linguistic experience characterizes the relations of an infant to his/her mother. Moreover, she argues that this experience survives into the post-linguistic phase by becoming part of the unconscious. Indeed, in Bin-Nun’s film this experience reappears in the mother and son’s joint nightmare.

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