John Wayne, looking great in a battered old Stetson, emerges through a door on to a wood-panelled landing. The iconic screen cowboy looks cautiously around before pushing another door, which is opened by a young Brigitte Bardot. The French star barely has time to say “Oh, pardon” before she disappears back through the door, only to be replaced by a grizzled butler figure. With a palpably sinister sense of purpose, he walks across a small room towards a black and white door – from which he emerges, having been transformed into a full-colour Antonio Banderas, bristling with sensitive intent as he approaches yet another door.
“There’s so much symbolism attached to a door,” says Christian Marclay. “Why
