Abstract: With Le Jour de gloire, the filmmaker Joan Bofill reconstructed the story of Salvador Dalí’s last film Impressions de la Haute Mongolie: Hommage à Raymond Roussel. Dalí dedicated La Haute Mongolie to Roussel, an author he carried with him his entire life, always a muse he tried to draw inspiration from. What did the paranoid Dalí see in the depressed formalist Roussel? What link is there between Dalí’s exuberant and delirious machine and the logic of Roussel’s Procedure?