In this article, the author revisits the history of French film movements with a particular focus on the re-inscription of random objects derived from everyday life in the film structure on one hand, and on the other, on the relationship between storytelling and visual poetry. The origin of the idea of correspondence of arts can be traced to the overlapping definitions of Surrealism and Dadaism and in the debate on the photogenic nature of film work. Historical study offers an essential context for understanding the shifting ideas from the idea of pure cinema to surreal and Dada cinema. The article draws attention to the work directly on the film reel by montage and collage. The analysis tracks the issue of visual illusions triggered by the use of rotoreliefs and juxtaposing images. Historical research has been differentiated into various separate case studies. Having examined some problems raised by these attempts, the article turns to reveal the intrinsic dialectical tensions in cine-rayographs and the absorption of selected practices from other artistic cultures enabling us to understand the principles of modern art.