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War for the Planet of the Apes Critics' rating : 8. Frames information Frame sizes. Small Medium Large Vintage Collection France. Our team of iconographers researched and retouched collections of photographs See all photos from Vintage Collection. More photographs by Vintage Collection Browse collection. Poetic Realism itself was predicated on an understated contradiction. It focused on the gritty underside of life: the marginal, the working class, the poor, the dispossessed, and the violent.

Its realism was at times callous. Its protagonists were cruelly offered some escape that they knew on some level was founded on an illusion and they were forced to bear witness as that illusion inevitably crashed before them, leaving them hopelessly tied to the miserable status quo or resigned to an untimely death. Yet this is Poetic Realism.

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It's aestheticized, made beautiful through a lens of nostalgia -- bittersweet and tending toward the cloying without becoming so. The poetic and the real are in tension. If we identify with these characters, we do so from a distance, a sort of Kantian divide wherein we are always aware that the sufferings of these figures are offered to us for our enjoyment. Poetic Realism can, in that light, appear rather sadistic.

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Of course, the linchpin here, the commonality that holds this seeming contradiction of poetry and realism together, is love. These films almost universally revolve around the theme of doomed love. Love is deeply poetic and yet profoundly and utterly real. Love is a fact of life; indeed it may be seen as driving the very engine of life itself. Empedocles, the pre-Socratic philosopher, posited that Love and Strife were the two opposing forces that brought about change in the world. After all, Empedocles asked, if the four elements Earth, Water, Air, and Fire were simple and unalterable, then how is change to be explained?

Empedocles offered the idea of Love as the principle of union and Strife as the principle of separation: attraction and repulsion, formation and decay. Doomed love narrativizes this opposition. It enacts the impulse for union that Love as a principle represents but its inevitable failure realizes the entropic decay instantiated by the principle of Strife.

Doomed love illustrates the cyclic dynamism of existence and, if we are to believe Empedocles, this is not limited to human existence but rather is indicative of all vitality.

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On the other hand, love transmutes reality; it has an inherently poeticizing function. While love may be a fact of life even an underlying Empedoclean principle of life , it's also something that we create, that we form and care for, that we attend to, nurture, and develop.

Arthur Rubinstein in Conversation with Lino Ventura in 1979

We, in the strong sense, make love. Love is the work that we do upon the reality of our lives. It's our attempt to transform the givens of our existence, to wrench ourselves out of the quagmire of the quotidian. It's not simply the case that these films aestheticize harsh reality for our complacent enjoyment as we sit comfortably in a theater. But rather Poetic Realism is the filmic enactment of the work love does upon life -- or, better yet, the work that we do upon our lives in making love.

The poetry of Poetic Realism is the cinematic representation of the alchemic effect love has upon reality. Gabin served as the ideal protagonist of the style. There's a passive acceptance of situation in his acting that is perhaps impossible to articulate.

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The police hurl a fusillade of shots through the room. He methodically moves an armoire in front of the door to secure his position, while calmly smoking his now lit cigarette. More shots tear through the window, puncturing the mirror. He is passive and alert, self-assured and wary. He approaches this danger in the same manner he approaches at least one of his two love interests in the film -- that is, with a kind of arduous reserve.

The trick at which Gabin seems to excel is that he can give expression to a sort of acceptance that things will turn out badly without ever succumbing to a mere nihilism.

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He knows that love happens, that deliverance however fugitive, however temporary occurs. He has faith that in a fallen world, love remains. But that faith can waver. At times he loses his composure. In another scene, he threatens to defenestrate the rival he ultimately kills.

Translation of "Lino" in English

Yet, the shattering of the mirror does not strike one as abnegation, as giving up in the face of an imperturbable enemy. Rather, it's a futile but necessary exertion of some modicum of control. It's not the expression, ultimately, of despair but rather of hope.