in French cinema in the 1970s
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Cinema's engagement with 1968 was perhaps most in evidence in the auteur sector of the French industry, although of the established stars of the Nouvelle Vague and its satellites only Jean-Luc Godard really registered a change in his trajectory. Jean-Pierre Mocky's anarchic political thriller, Solo represents an extended day-dream regarding May '68, and as the title suggests it is a distinctly uncollective daydream. It seems that Mocky wished with all his heart for Solo to be considered as revolutionary, despite its simplistic politics. The only political thriller to refer specifically to the events of 1968, Solo presents them as a form of individualist, romantic wishfulfilment, projected onto an isolated, and disaffected, individual. Philippe Defrance in 1976 saw 1968 as a positive force, albeit an almost spent one, and he gives little indication that there is any source of revolutionary energy available other than by a return to that source.

French cinema in the 1970s

The echoes of May


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