An ironic tension between nostalgia and digital technology permeates Les Glaneurs et la glaneuse and Les Triplettes de Belleville. Both films are political and critical: Varda denounces excess, waste and frivolous behaviour in the contemporary world, while Chomet expresses
dissatisfaction with modernity in France. They both recall the past, but acknowledge the impossibility of indulging in nostalgia. Digital technology is foregrounded in both films, and allows Varda and Chomet to offer reflective manifestos, respectively for documentaries and cartoons, in which
they highlight a reflection on the world order, on the medium of film, and on specific genres of films.
Studies in French Cinema is the only journal published in English devoted exclusively to French cinema, providing scholars, teachers and students from around the world with a consistent quality of academic investigation across the full breadth of the subject. Contributors scrutinise the cultural context of various works and the diverse stylistic approaches that infuse the visual fabric of this genre.