Désirs de rue. L'urbain, une matrice pour un nouveau cinéma. Antiquité and other anonymous but no

and other anonymous but no less talented artists

Letter to Luigi Muzzi undated

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

Valenciennes

Désirs de rue. L'urbain, une matrice pour un nouveau cinéma. Antiquité and other anonymous but noAt 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,