Désirs de rue. L'urbain, une matrice pour un nouveau cinéma. Antiquité la nouvelle bourgeoisie se passionne

la nouvelle bourgeoisie se passionne pour les voyages d’agrément

metamorphoses

A regular spectator

the objective is to recreate the atmosphere of the country and the archaeological excavations carried out in the field

some animals play a more important role than others and form a sort of "central bestiary

Désirs de rue. L'urbain, une matrice pour un nouveau cinéma. Antiquité la nouvelle bourgeoisie se passionneAt the end of the 1950s, young artists from what was then called the New Wave began filming in the streets. Outside the studios, cameras on their hands, they mingled with the city crowds. Urban space then became the matrix of their creations. It allowed them to reflect the individual and collective challenges of a changing society and at the same time invent a new cinematic identity. Dsirs de rue, through the analysis of short films by Eustache,