Les Cahiers du Mois appeared from May 1924 to June 1927, a magazine edited by young French, American, German and Belgian poets, writers and artists. Even though this magazine was mostly devoted to literature, in 1925, January issue (number 12) published a series of “scenarios”, and the September-October double issue (16/17) was entirely devoted to cinema, under the sober title Cinéma. The 255 pages and 46 contributions that make up this double issue, followed by a dossier of photographs (images taken from films, photographs of filming or set design), are divided into five parts: “Création d'un monde par le cinéma”, “Influence du cinéma sur les arts”, “Les Lettres, la pensée moderne et le cinéma” (answers from 17 poets and writers to a survey on their relationship with cinema), “État du cinéma”, “Les cahiers de la rédaction”. In this chapter, I hope to contribute to showing the issues that preoccupy this porous milieu where poets, writers, filmmakers and critics know each other and sometimes share several activities. In particular, I want to show what the poetry of cinema consists of for them, this paradoxically mute poetry, and how cinema operates on poetry: that is, how its technical devices not only work on the poets' thinking, their vision of the world, but also renew its forms and genres. We shall see the the conceptual inventiveness, evocative power and poetic experimentation of filmmakers, artists and poets in the 20s is evident in this 16/17 issue of Cahiers du Mois. For the cinephile filmmakers and poets of 1925, the poetry of cinema is to be taken literally: cinema creates a world. The luminous cone of the projector doubles the breath of the Creator, the moving image re-enacts the gesture of the Word's genesis, the film whose signs are projected by the light is “this supple god who plays and re-enacts ceaselessly with the obscure material of our world” as André Beucler puts it. Through this “glass gaze”, through its capacity for analysis, through its mastery of space and time, cinema creates a new world, where plants, rivers and objects are the protagonists of a new drama, where close-ups, slow motion, accelerated motion and the inversion of the direction in which images run totally challenge our way of thinking about the world: cinema is indeed, in the etymological sense, a poet, a doer, turning our philosophy upside down, endowing us with a new “cinematic” imagination. Although poets tend to deny the direct influence of cinema on literature, in a context favorable to the notion of pure art, it is clear that many write alongside, opposite or for cinema, and we can speak with André Desson of a “written cinema”, an “art adjacent to cinema”. Finally, film criticism and theory, under the influence of cinema on literature, in a context that favors the notion of pure art, is evident in the many writers who write alongside, in front of or for cinema, and we can speak with André Desson of a “written cinema”, of an “art adjacent to cinema”. Finally, film critics and film theorists such as Delluc, Epstein, Desnos and Clair - whose primary role as poets or filmmakers is not always clear - are renewing the genre of the prose poem. The terminological hesitation over the phrase “cinematographic poem”, which in the pages of the magazine sometimes refers to a text, sometimes to a film, is one of the symptoms of a generic hybridity that continues to this day, and of which Pierre Alferi's “cinépoèmes” are a striking manifestation.