The immense Tom, Tom, the only film that launches into an analysis of an entire film (the 1905 film of the same name by Bitzer), of all its images, all its constituent elements. It has something in common with Al Razutis’s two attempts with Méliès to take interest in start-of-the-century aesthetics. Today they seem strangely far-off and lacking in follow-up, not a representation of reality but of the wide-eyed dream of a child. The principle of movement in Méliès catalogue discloses the marvels one by one. The principle of stillness in Sequels in trasfigured times is like a botanical drying procedure for film which conserves a fixed but superb memory of the shapes.