"La Glace à trois faces" shows Jean Epstein in full possession of his art. With virtuoso use of his preferred cinematic vocabulary, such as the close-up and the dissolve, he builds up his story with the help of a sophisticated montage in which he duplicates, alternates and juxtaposes one and the same scene from different angles. He varies the values of the shots and the rhythm of the montage ad infinitum, translating the whims of memory. Each of the sides of the mirror is thus distorting, but offers a different kind of distortion.