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Grossmark describes enactments as arising from the patient’s own unknown, unrepresented history, that remains unmarked by time or place – the patient’s “unpast”- to be delivered to the analyst in enactive “untellings.” This discussion extends the idea of mutual enactment suggesting that the analyst necessarily shapes and contributes to the enactment and might need to access and call forward their own unpast for transformation to occur. Using a vignette from the film Hiroshima mon amour, the necessity of introducing separation and distinction, not just companioning, is highlighted.