Champagne is better on the road...
"Perhaps the ultimate road movie outcast, Mona does not cruise the highways on a sleek motorbike, sporting a sexy leather jacket, wreaking subversive havoc" (Laderman, 267).
Varda does an excellent job in Sans toit ni loi , proving that the power of the male gaze can be disrupted if techniques like the tracking shot are used and the non-normative perspective is considered. Mona as a a character escapes the recursive panopticon framing and the "looked-at-ness" with her animalisitc qualities and how Varda does not allow the audience to get to know Mona, the use of the docutestimonals helps assure this. Unlike Rebecca, Mona is not your everyday sexualized main female character, her every move is not controlled by a man and she is not seen as "lack" or as being castrated. In other words, Varda makes an effort in making Mona come across as being a discarded body and I felt as if I was wasiting my time along with Mona. As a spectator you get to see how masculine Mona may come across, always eating, her dirty teeth, her spitting, and the shot when Mona and the professor are drinking beer it is like a line is drawn down the table emphasizing the difference in what it takes to be feminine, with the clean, manicured red nails versus Mona's very dirty nails and hands.