Multiple Man

The scouts

A wordless assembly-line of humanity sounds like the most sanctimonious thing ever made, and yet Dufaux and Godbout somehow dodge the platitude trap—the multi-image grid feels less like a United Nations poster and more like a visual argument about what montage can actually *do* when you refuse to narrate it.

This is precisely the kind of formally rigorous essay film that sits in direct conversation with the structural cinema of its moment—the layered compositions recall both Vertov's multiplicities and the Fluxus sensibility, while the restraint (no score, no words) demonstrates a curatorial confidence in the image itself as sufficient argument.

The decision to stack and repeat human faces side-by-side in real time, rather than cut between them, creates an almost meditative rhythm that transforms what could be a gimmick into something genuinely affecting—it's the refusal to edit frantically that makes the work breathe.