Francis Alÿs's Children's Games is a series of fourteen videos, started in 1999 and filmed all over the world, still in progress. Alÿs explores the universes of children's games, using a child's point of view to explain and reinterpret the world. It doesn't matter which culture or generation you belong to: children's games are surprisingly similar all over the world. The seemingly innocent and unpretentious nature of a children's game allows the artist to reveal deeper issues or thoughts. It allows him to express, in an often poetic way, how lightness can arise from heaviness. We will first show how Reel – Unreel is not Alÿs's only deliberate use of childhood point of view to convey deeper meanings, and then we will be more specifically interested in the violence and poetic aspect in the work revealed through childhood.II. Relationship with other worksEven in the artist's works that do not belong to the Children's Game series, we can find this idea of ​​an inventive and playful approach to the world, often, accidentally or otherwise, poetic. In Paradox of Praxis I (Mexico City, 1997), the artist himself ends up taking the place of a child. What was initially tedious work, pushing a large block of ice through the city streets, becomes a game when nine hours later the ice has melted enough to be pushed with the feet like a ball and picked up. His seemingly insignificant game serves as a pretext for social satire. Furthermore, and perhaps it seems completely natural, the very end of Paradox of Praxis I features the children of Mexico City - perhaps a first hint at Children's Games -, concentrated in inspecting the puddle of water formed by the melted ice, and conversing with the camera, as if to remember...... half of the paper...... the reels were burned by the Taliban in 2001, because they believed they were original.IV. ConclusionTalking about his paintings presented with Reel – Unreel in the David Zwirner gallery in New York, Alÿs said “I cannot paint violence”. Perhaps this could explain why he chose to "paint" in his film not the latent idea of ​​violence or cruelty that war promises, in the distant background, or simply to evoke it with a few brushstrokes, but simply the playful aspect, joyful aspect and poetic of a game, even if it happens to allow it to convey much deeper meanings and even denunciations. Beyond any religious, cultural or historical point of view, Reel – Unreel allows us to have a fresh and new vision of the world. This is only possible by returning to being children, following the kids in their frenetic race, playing with them for the sole and pure joy of playing...