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French Avant-GardeFilm 12 of 18
Nothing but Time
Rien que les heures
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Alberto Cavalcanti, 1926, Rien que les heures. Paris from before dawn to night: a woman of the streets, a newspaper, meat, a rich couple, the Seine. The first city symphony at length, a year before Ruttmann's Berlin; Strand and Sheeler's Manhatta had done it in one reel in 1921. Cavalcanti, a Brazilian in the French avant-garde, cuts classes and clocks together without a hero. Cinémathèque and CNC hold the prints that tour: a day, not a plot, and a city that does not tidy itself for the camera.
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A day in Paris with no hero, a year before Ruttmann's Berlin. A woman of the streets, a newspaper, meat, a rich couple, the river. Cavalcanti cuts class against class and clock against clock. The city does not tidy itself for him, and he does not ask it to.
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