In typical Western fashion the credits for William Klein's Festival panafricain d'Alger focusses on the French and American participants. After Algeria regained its independence in 1962, it became Africa's – and the #AfricanDiaspora's – centre for postcolonial and liberation moments.

“À bas le colonialisme ! À bas l'imperialisme !”

The 12-day Festival panafricain attracted 5000 people from all over the African continent, as well as liberation fighters from the United States.

“I still can't figure out if it's an office, a market place, or a boxing ring. And maybe I don't even need to.”

– Vittoria

Barbara wakes up believing a fireman entered her bedroom through the window. Her father reassures her there's nothing, just a children's story. Years later, the adult Barbara (Caroline Loeb), grown up, withdrawn, living with her father (Dionys Mascolo), tutor, half brother (Pascal Greggory), and a persistent longing for her fireman, sparks a scheme that forces the fire brigade to come to their house and climb through her window once again.

“It's you.”

Flammes has a strange, stilted quality to it which reminds me, not in the least because of the presence of Geoffrey Carey as the restless American who travels with his own firefighter suit, of Raúl Ruiz's staged cinematic language. As in Ruiz's The Territory (1981), the characters drift in and out of space, and as in its half brother Der Stand der Dinge (Wim Wenders, 1982) we're left with wonderfully lingering performers who seem detached from, yet devoted to, their raison d'être.

Maria “Cabiria“ Ceccarelli (Giulietta Masina), a prostitute looking for happiness, meets famous movie star Alberto Lazzari (handsomely moustachioed Amedeo Nazzari). In his plush mansion, he treats her to an opulent – if not bewildering to Cabiria – meal of lobster and caviar.

“And what's this? I saw it in a movie once.”

– Cabiria

Co-written by #Pasolini, #Fellini's Le notti di Cabiria is a love letter to hope, life, #Rome, and of course his Giulietta.

“Yes, I'm afraid of death… but for a humble secret agent that's a fact of life, like whisky. And I've drunk that all my life.”

– Lemmy Caution

Science fiction, of course, doesn't have to be driven by grandes effects, by superstar names and monumental backdrops. It can be cool, dry, colourless even. The hero, in trenchcoat and fedora, traverses a lightless city. There are few others at this time of night. The familiar landmarks of the City of Light become the voice of 𝛼-60, an artificial intelligence that presides over Alphaville.

𝛼-60: “Do you know what illuminates the night?”

Lemmy Caution: “Poetry.”

– 𝛼-60 playing the imitation game with Lemmy Caution

Based on a poem by Paul Éluard, #Godard's Alphaville bears similarities with Jean #Cocteau's Orphée (1950), transported to a mirror world of sorts. It also foreshadows not only our time, but also M. Hulot's, whose #Tativille could be the simulacra of 𝛼-60's simulated, dehumanised world.

“Change your dreams, not the world.”

– Harry

A proto-Jean Painlevé exercise avant la lettre.