The real and the fantastic in the films of the "French new Wave"

The object of this study is the "new wave" – the current in French cinema from the 1950s to the 1960s. The subject of the study is the work of directors of the "French new wave": Francois Truffaut, Jean-Luc Godard, Agnes Varda, etc. French directors appreciated the work of R. Rossellini, who was influenced by cinema-verite, that is, the experience of Russian avant-gardists, in particular D. Vertov. In addition, the figures of the "French new wave" revive the traditions of the German expressionists in the field of light and shadow, in which the merit of the cameramen Gianni di Venanzo and Raoul Coutard is great. French directors called for filming outside the pavilions, on location, to show the real life of people. Along with depicting the lives of ordinary people, some representatives of the "new wave" turn to fantastic reality, which was most clearly manifested in the films "Alphaville" by J. L. Godard and "Fahrenheit 451" by F. Truffaut. This study uses an integrated approach combining phenomenological, comparative, and philosophical methods in their compatibility and complementarity. The purpose of this study is to consider the space created by directors. The scientific novelty of this study lies in the juxtaposition of the real and the fantastic in films directed by the "French new wave" (using the example of films by J. –L. Godard and F. Truffaut). The directors of the "French new wave" urged not to shoot in pavilions, appreciated full-scale shooting, and used a hand-held camera. Along with depicting the lives of ordinary people, some representatives of the "new wave" turn to fantastic reality, which was most clearly manifested in the films Alphaville by J. L. Godard and Fahrenheit 451 by F. Truffaut. The main conclusion of this study is the thesis that the real and the fantastic interact with each other. The image of fantastic reality reflects the global problems of our time.