
À Nous la Liberté
René Clair’s 1931 À Nous la Liberté follows two convicts — one who becomes a tramp, the other a phonograph magnate — and their reunion in a factory whose assembly line echoes the prison they fled. With Georges Auric’s music supplying much of the diegetic sound, and Georges Périnal’s cinematography framing both institutions as variations on the same geometry, the film stages a precise, unsentimental satire of mechanisation, class and the illusion of upward mobility. It is formally inventive, politically light-footed, and built on recurrence rather than revelation.




































