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Dimitri Kirsanoff, 1926, independent, almost no titles. Two sisters flee a country killing, reach the Ménilmontant district of Paris; one is used and abandoned, the other works. Nadia Sibirskaïa, Kirsanoff's partner, carries the face the film is built on. Handheld streets, superimpositions, a fair. CNC and the Cinémathèque restored the 38-minute cut that circulates. Made outside the companies, on the cheap, which is why it looks like someone grabbed the city.
In one programme
Two sisters, a country killing, a Paris district, and almost no titles. Kirsanoff shot it outside the companies with a handheld camera and Nadia Sibirskaïa's face. The bench scene, a stranger sharing bread, is the moment. Thirty-eight minutes, and the avant-garde's best case that form can carry feeling.
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