In the manner of a
Tocqueville
, French documentary filmmaker
François Reichenbach
traveled camera in hand through the United States in the late 1950s. He focused his attention on the most unique details of a society that was enjoying the well-being of the post-war period before the counterculture exploding: twin brother conventions, prison rodeos,
cowboys
on the asphalt.
They are images that portray the triumph of democratic banality with undisguised affection and a
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