LE HORLA

In the Paris metro, a man is wearing a black mask. The man returns home and the sounds of social anger follows him inside, but nothing seems to matter apart from his commerce with the double that he finds within the white walls.

Pierre Creton’s adaptation of Maupassant’s short story is startling in its luminous serenity. It is above all a portrait, a black-and-white study of a body, a face and their clear, opaque beauty. Paying attention to it all is enough to ward off the ghosts and the madness.

(Cyril Neyrat, fidmarseille.org, 2022)