La femme aux cent visages
In this very short film (it lasts less than ten minutes), using details from paintings and sculptures, Pollet once again addresses the mystery of the human form – here, female – and in particular, the face. The approach is simple yet quite emphatic, borrowing Antoine Duhamel’s theme tune from Godard’s “Pierrot le Fou” and accompanied by a text by Jean Thibaudeau. Although the motif of Pollet’s directing is circularity, this film’s motif is rectangular, backwards and forwards and back again… Some of the faces return, the editing forms a loop, as though through our gaze, through creation, they were always started afresh, seen again, rediscovered…
Arnaud Hée
Programmer, teacher and critic
In this very short film (it lasts less than ten minutes), using details from paintings and sculptures, Pollet once again addresses the mystery of the human form – here, female – and in particular, the face. The approach is simple yet quite emphatic, borrowing Antoine Duhamel’s theme tune from Godard’s “Pierrot le Fou” and accompanied by a text by Jean Thibaudeau. Although the motif of Pollet’s directing is circularity, this film’s motif is rectangular, backwards and forwards and back again… Some of the faces return, the editing forms a loop, as though through our gaze, through creation, they were always started afresh, seen again, rediscovered…
Arnaud Hée
Programmer, teacher and critic
