A couple kiss in their dark room and—blink—they’re re-seen, re-configured, as a different couple kissing in a field, transported to Renoir's A Day in the Country. A rhyme, rebirth, or re-imagination? We are in Cocteau’s world for sure—or that of David Lynch to follow. Rivette is already speaking the playful language of cinema’s dreams.
Rivette plays with blocking, expressing meaning through objects, and positions, well testing out how shots, often purposefully mis-matched, can relate to one another both in narrative and in abstraction.