The figure of the woman on aeroplanes summons the idea of the itinerary of stopovers—in London, Bombay, Calcutta, Accra, Colombo, Paris, Port-au-Prince and Washington DC—that not only speaks of the insufficiency of historiography but requires thinking through the relations between the international, the intra-national and the transnational. Women on Aeroplanes confronts us with the intermittent transmission of interrupted networks that sustain the negotiation between inter, intra- and trans-nationalisms. To turn towards magazines and publications is to think through the implications of world form entailed by periodicals that seek to thematize the work of collectivisation. We turn to magazines so as to think through the work of women‘s internationalisms as it changes shape, form and outline over time and space. In an off-space that is neither a museum, a gallery, a library or a university, the question of what constitutes attention is not provided by the building or supplied by the institutions. Rather, Women on Aeroplanes entails an ongoing practice of infrastructure. Part of Women on Aeroplanes’s role, then, is to create support structures, in Celine Condorelli’s term, for sustaining certain kinds of attentiveness that constitute the relations between women, independence, liberation and the difficulties that emerge when liberation movements become ruling parties that take hold of governmental power. That momentous shift brings us to Behind the Rainbow, Jihan El Tahri’s majestic cinematic reckoning with this very question. It is to this film, with its parallel narrations of turning points and its asymptotic attention to delayed decolonization, encumbered emancipation and incomplete independence, that we should now turn our attention.