Robbe-Grillet's cinema inhabits a very particular world into which realism rarely intrudes. The aged, the very young, the working-class, the uneducated, the ugly are all notable by their absence, and some might regret these omissions, arguing that his films do not deal with 'real-world' issues. Any violence in Robbe-Grillet's films is never truly realistic, always highly stylised. To his credit, Robbe-Grillet accepted that this tension existed from the 1980s onwards, retrospectively acknowledging its presence even in the early novels. Robbe-Grillet's cinema is, both outside and within itself, a re-engagement with age-old and deep-seated human concerns. In his unique attempts to renew cinematic forms and in the eternally relevant questions about sexuality and the self that his work poses, the not insignificant corpus of Robbe-Grillet's filmic uvre represents a lasting contribution to experimental and avant-garde cinema.