| Sumario: | The article explores the significance of gesture and posing in the context of the May 1968 protests in France, particularly through the lens of cinema. It highlights Jacques Willemont's film *La Reprise du travail aux usines Wonder*, which captures the aftermath of the protests and the complexities of worker resistance through a single, impactful scene. The discussion extends to Caroline de Bendern's iconic pose during a mass demonstration, linking her gesture to historical revolutionary imagery while also examining the interplay between body and image in cinematic representation. The analysis emphasizes how these gestures reflect broader social and political dynamics, questioning the relationship between revolutionary action and aesthetic expression.
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