Some truly great shots here both above and under water serve as a paradigmatic axis for how filmmakers could shoot in close ups. Although a documentary, this does not deter Vigo from exploring surreal significations. Thus, the imagery of water is often magical and the whole endeavor, particularly in the fast-backward shots, has something of the Cocteauesque surreal play with mirroring and (cinematic) reflection.
Taris
(1931)
Harmless little distraction that hints, at the end, at what's to come with L'Atalante.
26 August 2020