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The article presents a critical analysis of the film "Letter From an Unknown Woman," directed by Max Ophuls, written by Howard Koch and starring Joan Fontaine. The author says boldness is balanced with delicacy in the achievement of continuity. Ophuls ensures that the effect is not to explode the narrative into absurdity with a gag, but to position it beyond time and space. The author notes that Fontaine does not pause or correct herself in the effort to find the right words. Matched sets of gestures help to mark the palindromic pattern because the gestures are more striking.

The article presents a critical analysis of the film "I Confess," directed by Alfred Hitchcock and starring Montgomery Clift and Ovila Legare. The author says complacency is disturbed by presenting the villain as a demonic figure. The story starts like a murder mystery and moves directly to the identification of the murderer, giving viewers the confession that concludes a detective story. The film's weaknesses are primarily dramatic and they are incurred in pursuit of ambitions in the realm of character and theme. The author argues that the problem is in the relation between characterisation and plot.

The article discusses various theories related to film authorship and criticism. The author emphasizes the importance of noting a distinction between auteurism and other practices of film director-centered criticism. Auteurism, which emerged from a desire to confront and overturn an accepted view of Hollywood films as machine-made in style and either empty or harmful in content, is said to insist on continuity from film to film. According to the author, the notion of authorship in film seems to be credited with achievements in criticism, while achievements in criticism are discounted due to the limitations of the auteur theory.