This book in the form of a manifesto will help the researcher, as he is also a practitioner, to mark and develop his films with a conscious style that he names helixism. He borrows the term from the DNA system as the latter contains both modes of continuity and discontinuity. It contains the history of a person, an animal, or a plant, but allows personal characteristics to modify and develop that history. It combines collectivity with individuality and objectivity with subjectivity. The encoded pieces of information in this system resemble the encoding/decoding process in semiotics and therefore the communicative dimension that should exist in films as the researcher believes. The helical movements of its strands in different directions is a good metaphor, that is used by the researcher, to refer to the third choice that is neither linearity nor fragmentation, but it is all in one. On the whole, the first helixist films highlight three rudimentary esthetics, namely, Fusaifisic representation, paraoptic images, and open semiotic approaches...