Tênues limites entre o cinema documentário e ficcional. O exemplo de O Mistério de Picasso

From the invention of the cinema, two big potentialities configured : thecinema while reproduction of the real with the Lumière and the illusionistic cinema and fantasioso of Georges Méliès. In the large majority of the cases these two big genders – documentary and fictional – are analysed like divergent. From the analysis of the film The Mystery of Picasso (Henri-Georges Clouzot, 1956), the aim of the present article is to analyse the possibility of synthesis between the two genders.