These histories of masks begin with the nocturnal visit to the National Museum of Ethnology in the Netherlands filmed by Max de Haas in 1950 in Maskerage, impeccable on its form (first film score by Pierre Schaeffer), questionable on the content (colonialist hints) and ends with the sublime images shot in Mexico by Eisenstein during the Day of the Dead.

Between these two glances on the mask, some incarnations, simulacra and dissimulations, more or less serious games in which exhibition, grotesque and primitive violence are mixed.

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