This is what happens in his most recent film, aptly titled Voice-Over, where he overlays the construction of a traditional wooden sculpture with a phone call about a sales deal gone wrong. The death of Villevoye’s Papuan friend Omoma is the reason for the creation of the sculpture, a ritual that also functions as a memorial ceremony. In the phone call, reference is also made to a sculpture, in this case an artpiece and (expensive) commodity. A painful confrontation between two worlds with “the sculpture” as the transgressive symbol of life, death and legacy, on the one hand, and the art market on the other.