Mediterranee has been described as being “like a comet in the sky of French cinema,” an “unknown masterpiece,” and an “unprecedented” work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images—a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida—is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that Mediterranee might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual. The experience is mesmerizing.