In 1972/73, sinologist & situationist René Viénet bought the rights to Tú Guāngqǐ's 1972 martial-arts movie Crush. Creative subtitling turned it into a burlesque comedy about daft French Maoists and street-smart Anarcho-Syndicalists. It became an instant success on its very limited first run. Then, a second version was made: the film was dubbed using the dialogues Viénet wrote for the subs, with a few congenial changes by the actors. Time passed, La dialectique peut-elle casser des briques? vanished from circulation, turning slowly into a half-remembered avant-garde myth whose distorted reality one could mainly encounter online in ultra-crappy compression. While digitally restoring his legacy and thinking about new projects after decades of silence, Viénet decided to make a third version by means of digitally rotoscoped moving watercolours! We proudly present the return of La dialectique peut-elle casser des briques? both in the rotoscopic and restored dubbed versions.

1976年初，随着“反击右倾翻案风”运动改为“批邓、反击右倾翻案风”运动，指令上影拍摄《翻案不得人心》（1976），指令上海电视台拍摄《复旦在批邓斗争中前进》（1976），又派新影到上海拍摄《复旦校园卷狂飙》（1976）、《坚持同邓小平对着干——上海钟表元件厂在斗争中阔步前进》（ 1976），这些影片矛头直指邓小平。新影受命拍摄的《洪流滚滚》（1976）全面赞扬了文革以来各个领域出现的“新生事物”。

1976年初，随着“反击右倾翻案风”运动改为“批邓、反击右倾翻案风”运动，指令上影拍摄《翻案不得人心》（1976），指令上海电视台拍摄《复旦在批邓斗争中前进》（1976），又派新影到上海拍摄《复旦校园卷狂飙》（1976）、《坚持同邓小平对着干——上海钟表元件厂在斗争中阔步前进》（ 1976），这些影片矛头直指邓小平。新影受命拍摄的《洪流滚滚》（1976）全面赞扬了文革以来各个领域出现的“新生事物”。