Yoko Ono’s films tend to deal with themes of sexuality, intimacy, and the navigation of public life. 1969’s Rape is arguably her most famous work, a disturbing first-person perspective from the eyes of the film crew, who chase, harass, and assault a German woman as she flees through the streets of London. No doubt the film is a commentary on the sudden media onslaught she experienced in the initial stages of her relationship with John Lennon. It’s an incredibly compelling piece.

It’s also 77 damn minutes long, and since I know you’re all reading this at work, I’ll hook you up with one of Ono’s briefer film experiments.

In Freedom, we see a shot of Ono’s chest in a silky purple bra. Faceless, she attempts to unhook the front claps in slow motion to the sound of modulating, electronic drone, (provided by John Lennon, of course). While it’s not unheard of to see a close-up of breasts on celluloid, the speed and sounds of the shot transform a mundane ritual of taking off a bra into a sort of post-modern dirge. The bra is never removed on camera, and the audience is left in a state of anticipation, as the clinical, hypnotic feel of the film belies all the general comfort we associate with breasts, whether maternal or sexual.