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What an image can say, independently of those who created it. The graphic designer of
this edition of L’Aveu (The Confession) had all the photos of the film at his disposal, including
stills from the shooting: he chose the one that seemed to best express the situation of Artur
London in the grip of his torturers. And as you can see, the torturer was just a prop man, and
Montand’s gesture was a hand raised against a bright spotlight. It happened between two
takes: the image of horror was actually a moment of rest.