Jeff Wall describes his photograph Picture for Women (1979) as a ‘remake’ of Édouard Manet’s painting A Bar at the Folies-Bergère, (1882). The motif of the mirror reflection is fundamental to both artworks and foregrounds mutual concerns about spectatorship, the dynamics of the gaze and spatial relations. In each case, the mirror transforms pictorial space by reincorporating the off-frame zone, juxtaposing heterogeneous fields of vision and conflating multiple surfaces. Manet’s mirror is most famous for its ‘infidelity’ to that which it reflects, but the nature of its aberrations continues to confound critics. The controversy surrounding the mirror in A Bar at the Folies-Bergère lingers in the striking construction of Wall’s Picture for Women, which appears to be entirely composed of a mirror image. I argue that the idiosyncrasies of the mirror reflection in Manet’s painting find a new articulation, inspired by the cinematic, in Wall’s staged photograph. Using film theories of ‘suture’, I extend established interpretations of Picture for Women by suggesting that the ambiguous mirror in Wall’s photograph performs a suturing function and evokes cinema’s mobile frame. However, suture’s function is not absolute, nor final, just as the presence of the mirror in Wall’s photograph is assumed, but not certain.