Gérard Macé's work never ceases to mobilise the cinema and to constitute, through various genres, a self-portrait as a cinephile. Through these fragments of film, called upon according to the whims of memory, he reconstitutes an archaeology of cinema, rediscovering not only a prime time of cinema, which disjoins the history of the arts, with its ghosts, but also an earlier intimate time, mobilising cinema as a machine for exploring the psyche. It is thus an experience of the cinephile spectator, drifting into a broader history of cinema, that is elaborated here, finding in this alliance of receptiveness and mastery something of the literary gesture itself.