Phaeton (1978)

Nothing is invisible in Phaeton, except perhaps the face behind the mask.
A fancy dress mask, an obviously “theatrical” image, an embodiment of “suspension of disbelief,” held in suspension in the darkness by the projector beam.
We can perceive the mask as convex or concave, positive or negative. We can imagine we are inside it looking out or outside looking in. The mask is both inside and out, as much image as non-image, an interface and a mirror, a screen in itself.
Moulding the face around the eyes, the mask “acts” as a disembodied, theatrically disguised mirror of the audience, a “projection” of the illusionist/projectionist viewer.