Parc Mont-Royal attempts to show how cinema evidentiates the relationship between the observer, the observed and the gaze. Such notions as scopophilia, gaze, visual pleasure and voyeurism remained as critical issues on film scolarship. My video piece comments on how the technology of cinema has modified not only our notions about the gaze, but also the gaze in itself. As the experience of cinema is mainly constructed around framing and frame speed, our expectations revolve mainly around these two formal devices. What happen when we receive visual information through different uses of these two formal devices?.