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Ulysse (1982) revisits Vardas 1954 photo of a naked man, a naked boy, and a goat. The three elements of the photograph work together like the Sphinxs riddle (the three stages of life), and the image itself is a haunting juxtaposition. However, that was then. Vardas marvellous film deconstructs this image by revisiting it twenty-eight years later. She shows the mans discomfort at making the photo, the way the boy was constructed by Varda (he had to be carried to the photograph as he was unable to walk the photograph evokes a completely different memory for the boys mother because of this), the fact the boy has no memory of the photograph in the first place, a painting of the same image which captures the same moment in a completely different way, or that no-one was speaking for the goat (she also gets neighbourhood kids to interpret the image). Varda highlights the inherent frailty of the image, and critiques this so-called objective document of history. She also juxtaposes this concern with the news of the day, the so-called facts from the day she took this photograph. The so-called objectivity of the news is swiftly demolished by this simple photograph she took on a deserted, rocky beach.