A Huyghe film often carries both a positive and a negative charge, using the form to repair something real, while also reflecting on its unstable relationship with reality. In “Les Incivils” (1995), Huyghe shot a partial remake of Pier Paolo Pasolini’s “Uccellacci e Uccellini,” incorporating residents from the locations of the original film. In “The Third Memory” (1999-2000), Huyghe tracked down John Wojtowicz—the bank robber portrayed by Al Pacino in Sidney Lumet’s “Dog Day Afternoon”—and had Wojtowicz reënact his botched heist on a replica of the film set. In theory, this allowed Wojtowicz to reclaim his narrative. But it turned out that his own memory of the event had been colored by the Hollywood version. It’s a quintessential Huyghian knot, with fiction and reality twisted together. The difference with “Liminals,” at Berghain, is that there’s no redemption. It uses the fiction of film to lay waste to any fragile idea we might have about the coherence of ourselves.