"The brooding, existentialist portraits of his classmates in We Are 17 clashed so much with Holland's postwar optimism that a counter-album, We Are Also 17, soon appeared. His early experimental films, like Paris a l'aube (Paris at dawn) (1957-60), a ten-minute sequence of long, static views of the city shot every morning at 4 A.M., were dismissed as "photographic," while those...