The French New Wave, a revolutionary cinematic movement, was driven by the filmmakers’ independence from major studios, primarily due to their limited budgets. This financial constraint paradoxically unleashed a wave of creativity, as directors and writers were free from the commercial pressures and formulaic demands of traditional studio systems. They embraced innovation out of necessity, using whatever materials were at hand to craft their stories.
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In Vittorio De Sica’s “The Bicycle Thief,” the film intricately weaves the destinies of two bicycle thieves, illustrating the cyclical nature of poverty and desperation. The first thief steals a bicycle because he cannot afford one, aiming to sell it for survival. Antonio, the protagonist, mirrors this act of theft when he steals a bicycle out of sheer necessity to maintain his livelihood after losing his own. This mirroring establishes a poignant irony: both men are driven to the same desperate act by economic hardship, blurring the lines between victim and perpetrator.
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Decentralized Intelligence 