This article deals with the centrality of modern cinema in the work of JILALI FERHATI «La plage des enfants perdus». Through the motifs of the cine-writing, the author proposes a grid of analysis that focuses on the cinematographic practice where the filmmaker and the spectator are the custodians of the work and its meaning. The article presents the present of representation and the multiplicity of forms perceived through the play on the tools of cinema and direction.