在这部三面镜剧情片中,《三面镜》堪称印象派运动最大胆影片之一，爱普斯坦为影片设置了晦涩暗昧而又诡异多变的情节。三个迥异的女人各自描述他们与同一个男人的关系，他们的叙述使得关于这个男人的看法互相矛盾冲突，无法统一。在电影的最后一场戏中，在分别给每个女人写信叙述不能与他们见面的不同理由之后，他遭遇了一次致命的车祸。影片中几乎所有的叙事信息，都是通过三个女人的感知而透露出来的，我们对这个男人的直接感知非常得少。影片最后有一个象征性的镜头，是这个男子处在三面镜子的前面，这暗示着我们根本无从把握任何有关他的所谓真实。在默片时代，很少有叙事电影如本片一样与古典的故事讲述惯例彻底分开的。《三面镜》在手法上的创新倾向后来又在欧洲五六十年代的艺术电影中重新出现。
Psychological narrative avantgarde film about a wealthy young businessman who consecutively falls in love with a classy English woman (Pearl), a Russian sculptress (Athalia), and a naive working-class girl (Lucie). Overpowered by weakness, the coward sidesteps the obligations that love affairs impose: rather than living up to his dates he takes his sports-car from an ultra-modern garage and speeds to the fashionable beaches of Deauville. On his way, he is fatally hit by a descending swallow. The film is divided into three segments each of which consists of events the woman experienced. These sequences are embedded in scenes in which each of the three women is telling and casting her mind back to her own love affair. Thus, present, future and past merge and cannot be distinguished clearly. The intertwinement of several layers of time experience, recollection, telling and showing have been regarded as a source of inspiration of Alain Resnais and this film prefigures his "L'Année dernière à Mariënbad" to a certain extent.
FIFF18丨DAY1《三面镜》：不同视角折射出的同一男人。
