Modern, Six et demi onze, is already modern by the title. Six et demi onze corresponds to a kodak. If this film still refers to Le double amour, “it was however still very Pierre Frondaie”, said Epstein, and in terms of cinematographic conception it fully belongs to the cycle of films to come. Questioning himself over the suicide of his brother, a man reflects, and deduction by deduction, he finds the answer. All of this occurs right before our eyes, going back in time. Feyder used this process three years later in The Kiss. This is already proof of how movement is photogenic, no longer in space, like in the first films of 1923, but in time. Six et demi onze thus opens up “this second series in which there is a photogenic quality of movement, of studies, of presence, of research by trial and error on the photogenic quality of movement no longer in space but in time. This variation in the temporal perspective exists in La glace à trois faces, where the same individuals see at the same time three actions in different ways, which intertwine and occur with different rhythms.”

Henri Langlois, “Jean Epstein”, Cahiers du cinéma, n. 24, 1953