Raymond Depardon's marvelous documentaries (Caught in the Act, Profiles Farmer, 10th District Court) have long been PFA favorites. In Les années déclic (The Declic Years, a pun on the sound of a camera shutter), Depardon presents himself-photographs taken over twenty years; excerpts from his films; and, behind it all, his image-for consideration, creating a powerful, lonely, and gripping autobiographical tour. Depardon's examination of issues and questions in photography and journalism permeates his work, prompting Cahiers du cinéma's Louis Marcorelles to write of Depardon's “auteur complex. The camera is his alter ego, a mirror along the road as Stendhal said of the novel, and a mirror in the Cocteau tradition, Narcissus's perfect tool.”