The public interest has never been for Jacques Demy, one of the most singular filmmakers of the New Vague, author among others of Lola, Les Parapluies de Cherbourg, Les Demoiselles de Rochefort, Peau d’Age and a room in the city. However, no new monographs have been devoted to him in France for more than 20 years, as if he were to be the subject of only somptuous picture books that have multiplied on his life and work. The detailed study by US academic Anne E. Duggan addresses this gap and stimulates reflection by focusing mainly on five films analysed in depth (Lola, Les Parapluies de Cherbourg and Peau d’âne only the less well-known The Pied Piper and Lady Oscar) while other films of the filmmaker are discussed more quickly. Anne Duggan’s theoretical approach radically breaks with the critical consensus established around Demy’s work, since she chooses to place herself in the double light of the studies on the storm (of which she finds archaetypes up to Lola and Les Parapluies de Cherbourg) and of the queer studies which, in the continuation of gender studies, seek to identify an artistic practice based on the refusal of margins and borders. Anne Duggan’s book is a major contribution to the renewal of the critical narrative on Demy. It is also a superb paying tribute to the complexity of a cinematographic work which cannot be harmed to explore the most secretive faces.