“In his film Contretemps, Pollet performs a task of destroying and recreating his previous films. Starting with scenes from Méditerranée, L'Ordre, etc., as well as from a Jean Baronnet film, he creates a new film in which all of his previous images form part of a different game, one that is vertiginous, impressive and acyclic. Enclosed in a backwards movement in search of the energy to propel it forwards. “The playing pieces are picked up, relaunched, the same ones and different ones.” It is once again the text of Sollers and the music of Duhamel, but this time Sollers and Duhamel are in the film, which, in its spiral-like motion, picks up, restarts, just like the swell of the waves (...), in an incessant back and forth motion, the fight against time.” (Colette Mazabrard)
