The Crazy Ray [Paris qui dort] is a visual essay on [motion]. The film denies motion and obstructs it; it creates it where it didn't exist, and constantly juxtaposes the mobile to the immobile. His camera moves in and out of the tower, dances around it and glides up and down it—and in so doing endows this massively stationary object with lightness and mobility. Conversely, he takes human beings, twists them into shapes and poses, and has his camera record their immobility under the ray's force…. (p. 36)

Entr'acte is Clair's most delightfully obnoxious film, twenty minutes of cheerful audacity and high spirits. While revealing Clair's talent and virtuoso command of formal technique, it puts that technique to a nonsensical purpose. It is a plotless film, divisible into larger sections but devoid of any sort of narrative line…. In Entr'acte's free-association surreality, one looks in vain for...