Contretemps

We know that Pollet had a complicated and painful relationship with editing (“La Ligne de mire” ended up in the bin and “Méditerranée” almost joined it there), but in the late 1980s, “Contretemps” seemed to signal a kind of coming to terms. Using fragments of “Méditerranée”, “Bassae”, “L'Ordre”, “Pour mémoire” and “L'Acrobate” (as well as some superb scenes from “Skinoussa, paysage avec la chute d'Icare” directed par Jean Baronnet in 1981), Pollet and (during the editing) Françoise Gessler look back on a body of work whose coherence and obsessions are perceptible, some of which the couple Sollers and Kristeva spell out. With Pollet, everything seems to have to go through a phase of dissonance and incongruity in order to reach what it’s aiming for: bliss and harmony.

Arnaud Hée
Programmer, teacher and critic