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Soviet cinema has always been a central tool for propaganda and the construction of socialism, as Vladimir Lenin emphasized when he called it ''the most important of the arts.'' In the decades following the October Revolution of 1917, this cinema glorified the ideals of the Communist Party, fulfilling the demands of socialist realism and serving the goals of the state. The Stalinist years reinforced this role, imposing strict censorship and artistic homogenization. However, Stalin's death in 1953 marked the beginning of a cultural transformation, notably driven by the Khrushchevite Thaw. This thesis explores the dynamics of Soviet cinema between Stalin's death and perestroika, highlighting the interaction between Soviet cinema and international influences. The Thaw allowed for greater thematic and stylistic freedom, fostering an artistic dialogue with the West. The influence of the French New Wave is particularly notable, with Soviet directors drawing inspiration from its innovative techniques and narrative freedom. Films such as Mikhail Kalatozov's ''The Storks Are Flying'' (1957) and Andrei Tarkovsky's ''Ivan's Childhood'' (1962) exemplified this openness, receiving international acclaim. The research highlights four major phenomena: The Thaw and Openness to the World: relaxation of censorship, emergence of social and human themes, and international recognition of certain Soviet films. The influence of the French New Wave: adoption of new cinematic languages, increased importance of auteurism, and questioning of classic narrative structures. The transition from the Thaw to Perestroika: the gradual evolution of cinema toward a more pronounced social critique, anticipating the changes of the late 1980s. Cultural transfers and their impact: the influence of international film festivals, intercultural dialogues between Soviet and Western filmmakers, and the exile of certain directors. The methodology is based on the analysis of a corpus of emblematic films, interviews with witnesses of the period, and the study of film archives and criticism. This approach demonstrates that Soviet cinema was not an isolated entity, but an actor engaged in an international artistic and ideological dialogue. In conclusion, the thesis shows that Soviet cinema, while remaining under state control, was able to integrate external influences that gradually paved the way for the profound transformations of Perestroika.