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It says a lot for the broad-mindedness of French audiences that several of his movies apparently performed quite well at the box office.

Taddei puts Robbe-Grillet on the spot by boldly asking him whether filming such a scene turned him on.

We can witness sapphic episode with her.

Wanting to make a second film in keeping with his scheme but lacking the resources to do so, Robbe-Grillet vamped something up by recycling material from Eden and After, to which he added some travelogue footage and an on screen narrator who has a faint whiff of the Open University about him discussing the artifice of narratives.

The Immortal One was also a film that took time to make and lost money.

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.

Taddei proves to be an ideal interviewer.

Also Olga Georges-Picot nude in Glissements progressifs du plaisir.

Again like Marienbad, it is ravishingly, stupendously chic.

Robbe-Grillet put this into practice with his next film, Trans-Europ-Express 1966 , a movie that — in feel and mood if not in theme — could hardly be more different to The Immortal One.