O que nos olha nos olhos: o olhar de Antoine

The concept of montage appropriated by Walter Benjamin from cinema constitutes, in the context of a cognitive crisis that accompanies the consolidation of capitalist modernity, a formal model that, according to the author, enables the reestablishment of the experience. From the mentioned concept, associated to the distancing between subject and object, we propose a reading of the film Les quatre cent coups (François Truffaut, 1959), in particular about the freezing of the final shot associated to the transgressive look of the character Antoine Doinel, whose eyes cause estrangement when crossing the spectators