Rien que les heures

The camera moves through the streets, from the silence of morning to the humming lights of nighttime; streets, paths, and the river define everyday events and minor stories in a montage that is both dramatic and melancholic. This important example of the French interwar avant-garde emphasizes a social point of view and entices us through the inventive imagery of the observed events, into which it inserts staged scenes. Comical and unflattering details create a poetic image of Paris in one of the first movies to define the genre of “city symphony”. (Ji.hlava International Documentary Film Festival)