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Taddei proves to be an ideal interviewer.

He also tells a fun story about shooting in a vast, unused, Soviet sugar beet factory and repainting it in bright colours, just because he could.

He then pursues her, full of questions, around a city where nothing is quite as it seems — the ancient mosque the woman visits is more likely to have been built in the 20th century and an antique he buys for her is a mass-produced fake.

The whole thing is like a mirage, with the difference that the closer you look, the more you see.

Far from being the lofty and cerebral figure one might have feared, Alain Robbe-Grillet emerges through this wonderful box set as among the most approachable of French auteurs, and a filmmaker of considerable resource and originality who was always prepared to take risks with the medium.

Because the girl and Nora are artist and model at least by choice; they seem to be prostitutes by necessity.

The protagonist, whose name might be Boris, gets shot and comes to life again; he provides a voice-over narration which is no more to be trusted than the things he tells the girls.

From there things quickly dissolve — the molecular structure of storytelling breaking down before your eyes — into various planes of the imaginary or the possible to the point where anyone trying to follow what is happening has to simply throw up their hands and go with the flow.

Puzzlingly, she claims that Alvina was only 17 when she made Glissements, although, to go by her date of birth on IMDb, she would have been around 20.

This review goes through the films chronologically.