Produced by Channel 4, The Red Riding Trilogy (2009) is a singular audiovisual object. On the one hand, each part of the trilogy aims to offer the viewer the appearance of autonomy. On the other hand, and in the opposite direction, this fiction in three parts makes use of a narrative connectivity whose aim is to produce, between the different segments, discrete and subtle effects of micro-seriality. The purpose of this paper is to study this singular dialectic between autonomy and interdependence, particularly insofar as it blurs the established boundaries between cinema film and mini-series.