For ULYSSE, Agnes Varda grants herself the unusual screen credit of cinecrit, but the exercise in question is actually the titular photograph she took on a beach in 1954. She tracks down two of her three former models (the third is a dead goat) to find out if the picture still means as much to them as it does to her, only to discover they have no memory of it at all. This leads to Proustian ruminations on the succession of selves and the mystery of images. Viewing another photo of himself from the same period, her model says, "I remember the jacket, but I don't remember the person." Frustrated in her attempts to understand its hold on her, she digs through the records of that period in history and her life, until ultimately the picture seems to be about everything except what's in it.