"My Joan is that of a boy who loved parish cinemas and those in the suburbs – the only ones he could afford – between the 1940s and 1950s. For this reason, she will forever have the face of Ingrid Bergman, discovered shortly after 1952 in Fleming's Technicolour blockbuster – admired, moreover, in a cut-up third version – and then seen again, in a completely different interpretation and with a very different intensity, in Roberto Rossellini's 1954 film, which, through the text of Paul Claudel, reinterpreted the allegories of medieval sacred representations. (p. 4"