This article examines the techniques and challenges of montage in the contemporary ciné-roman-photo format. It draws on an analysis of the traditional ciné-roman-photo, which variously considers issues relating to montage. At first glance, the critical and political potential of the cinéroman- photo seems to stem primarily from its capacity for détournement, provided that it is used for more than mere satirical and anecdotal effect. The article discusses these questions based on three examples : La Jetée by Chris Marker, Une fille comme toi by Jan Baetens and Romans-photos (2023) by Pierre Alferi.