Coming across as rather less flaccid on its second viewing (the first being at the LFF 1996), Le Polygraphe still impresses more as an exercise in style over content. LePage himself stated that after the narrative and filmic experimentation of Le Confessional, Le Polygraphe is more concerned with exploring character. To this end it is only partially successful. In giving almost equal time to each of the main characters (especially ones that initially seem to have little bearing on the story), the film lacks a focus. Whilst Patrick Goyette's Francois is too withdrawn to elicit much sympathy in the central role, he is also lost amongst the swamp of sub-stories, and thus the audience is not really given a suitable hook into the main narrative. The film does seem to meander, often threatening to spin off in another direction at any point, though it does so through some interesting territory, and LePage's stylised visuals, despite often treading the line of mere gimmickry, work well. Whilst certainly rather obscure upon first viewing, this is still a respectably well crafted film; atmospheric and certainly not one without interest.
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