Watch enough of Alfred Hitchcock’s films, and you will eventually notice that characters can repeatedly be seen simply watching. James Stewart’s Jeff Jefferies in ‘Rear Window’ watches his neighbors through binoculars. Ben McKenna in ‘The Man Who Knew Too Much’ watches his adversaries from a dark balcony. Norman Bates in ‘Psycho’ watches… well, you know what he watches. What does this watching represent, ultimately? In part, it’s bound to the films’ narratives, which all involve spectatorship of one kind or another–but in a broader sense, viewers are implicated, as if the very act of taking in a story involves voyeurism, of a kind. Jorge Luengo’s new video piece takes us through Hitchcock’s most poignant moments of said voyeurism with enthusiasm and verve.