The film Les temps des Assassins is not only an extraordinary work, but it is also an extraordinary exegesis of Rimbaud's clairvoyance. It begins with the seer: the reflection of a fight in the glass of her glasses, while the wind moves her hair, how the clouds move, how the duelists move, perhaps the murderers. But "I is another," Rimbaud wrote. To be, to know how to be a witness, the visionary must begin a journey to discover the depth of this "other" which is the self. Meet houses, antennas, clouds along the road that winds fast through the car windows, while the sun beats on the glass, refracts on the glasses, making the visionary's gaze invisible. And then there are the mysterious intermittences: the galleries, "the connections, the passages, the representations", which, according to Novalis, are the landscape of the unknown self. And here fragments emerge that are no longer composed in a landscape: a gun, a face, a head, a body, a mouth wide open in the silent scream, and colors.
