Georg Wilhelm Pabst : blessure de la guerre, cicatrices de la pellicule

Of all the filmmakers who made up Germany's cinematic glory in the interwar period, G. W. Pabst is the one who received the least recognition or took the longest to do so. But he is also the one who, as early as the late 1920s, made the First World War a cinematic event which is reflected, more or less directly, in four of his films: The Love of Jeanne Ney, Westfront 1918, Kameradschaft and Street of Shadows. War appears as a traumatic experience that has wounded individuals, souls and peoples. But these four films also form an artistic manifesto, in which Pabst affirms the restorative power of cinema, which, in essence, consists of an incessant dialectic between cut and reunion. With its proper aesthetic means, the cinema can thus repair the after-effects of war.