If we may say that there is a connection between the “world of shadows” of Joseph Conrad’s fictions and his interest for the shadowplays of his time, the impressionistic sensorialism of his writting has much in commun with the hallucinatory dimension of Cinema. Conrad had doubts about the capacity of cinema to convey “thought” and the plasticity of the “narrative voice” of the novel; Maurice Tourneur’s adaptation of Victory (1919), however, chooses to elaborate the double spectrality of Conrad’s fiction and of the medium of cinema, finding, that way, an open and uncertain place of suspension for his forms and figures, between the grotesque and the abstract.