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Abstract Alberto Cavalcanti was one of the most influential “avant-garde” artists in the Paris of the 1920s. After four years working as a set designer and an assistant director in French cinematographic fiction, he directed what is considered by many movie theorists his masterpiece: “Rien que les heures” (1926). The “fictional documentary”, as the director classifies it, is strictly related to his theory about the “medium” written from 1920 to 1950 and latter published in the book “Filme e Realidade” (1953). In this article, I intent to discuss this connection, as well as to think about the place this motion picture occupies in the “avantgarde” cinema.
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