Singing, dancing, crying, hugging—there has been much discussion over the past decade about how Jesper Just’s films critique codes of masculinity (particularly those established by Hollywood) by showing men doing “unmanly” things. In a hiatus from his androcentric—if critically so—worldview, the three films currently showing at Galerie Perrotin feature female protagonists and confront constructs of femininity. Though the focus of A Vicious Undertow (2007), Sirens of Chrome (2010), and Llano (2012) is shifted onto women, the films’ surreal settings, lack of dialogue, moody scores, and emotionally ambiguous relationships are classic Just (who reprises his signature male-dominated motifs in the Danish Pavilion at this year’s Venice Biennale). Shot in black-and-white 16mm film, A Vicious Undertow tackles old Hollywood glamour ideals and pre-code innuendo. Set in an oriental-themed bar, the film opens to a Muzak version of The Moody Blues’s Knights in White Satin (1967). A lone woman (Benedikte Hansen, who appears in multiple Just films) is introduced from behind, with her blonde chignon, delicate gold chain, and silky dress as the embodiment of film noir feminine mystique. When her face is finally revealed, we see that her puckered lips are responsible for the melancholy soundtrack. Soon a harmonizing whistle joins hers …