Finally at the bridge of the film’s title, Baptiste discovers a gigantic dragon, a marvelous construction that appears to be mix of a fire-spouting oil-derrick and a modernistic children’s ride, which Baptiste slays. Marie calls Julien, promising him the return of the map, while Baptiste, having stolen Marie’s gun, murders a man who had prevented her friend from entering the telephone booth. Finally confronting her strange shadow, Marie declares that her friend is insane and marches forward to wait for Julien, who, when he encounters, shoots and kills her, proclaiming “I loved you.”
Of course, there is no answer. Rivette’s film is not a coherent narrative, ready to provide an easy summary to its often obscure events. Rather, the director takes us on an exhilarating ride where he, as he puts it, “upsets people.” “The film must be, if not an ordeal, at least an experience, something which makes the film transform the viewer, who has undergone something through the film, who is no longer the same after having seen the film.” Once one has entered a Rivette film, all other films seem slightly ploddingly predictable, the script or story determining events. In Le Pont du Nord we not only do not know why things happen, but how they happened, or even if they happened. One might imagine, that like the magical game behind the character’s movements, that seeing this film again might allow us to create a very different perception of what we are witnessing—that Marie might just as easily dig deep into her purse and pull out another plot!