The central ‘signifier’ of Edith Scob’s character in the film is her mask. Casting her face into an enigmatic, inscrutable facade, it has absolutely no expression. The screaming, naked, human face would repel but the cool facade of the mask—with the scream behind it—does not. Masks allow us to know the unknowable, to experience the unspeakable. The most hysterical behaviour is contained by the mask.
Richard Skinner on Eyes Without a Face directed by Georges Franju.