FICTIONS 3D
programme
Pierre Pauze
3D Trans, 2016, 23 mn
Production : ENSBA Paris
Through the film, I explore the relation between the human body and its image in the digital sphere, by way of different social phenomena whose emergence and form are associated with the outpouring of the new media (cult of the body on Instagram, fooding and healthy diet, street bodybuilding, cyber coaching etc.). PP
Raphaël Moreira Gonçalves
Rouge Ultra, 2015, 19 mn
Production : Le Fresnoy - Studio national des arts contemporains
Rouge Ultra is the fragment of the life of a young man fascinated by morbid images. For him, these are like a catharsis for the memory of the death of his best friend, which he witnessed as a child. This film mixes “real” shots and computer-generated images. I wanted to work on the idea of “factitious” images, to talk about the virtualisation of the world that the character imposed on himself in order to protect himself. I use 3D video capture (Kinect) so as to be able to insert the modelling of my actor in a CGI environment that I create or that I cut out from the “real” photogrammetrically, to play on the ambiguous realism of my images. I wanted to approach this project by associating the tradition of dark romanticism and its relation to morbidity, with the proliferation of ultraviolent images from the Dark Web.
Setting up a cathartic passageway to reinterpret the romantic figure in the virtual, abrupt environment, like a materialisation of the asphyxiating cloud in which the character tries to run away or lose himself. For it seems to me that today social relations and even the feeling of existence itself are being redefined through this ocean of images. As if, at the present time, what is in play is a switch towards a virtual elsewhere that is simply a superposition over the world we know, with its beauties and abyssal depths. RMG
Clémence Renaud
Glories and Declines, 2018, 15 mn 30
In the midst of the décors of the city of Tokyo, messages circulate by way of a signal made perceptible by generic objects resembling sculptures. A wifi router indicates the existence of a busy city. The radio broadcasts a voice which announces the day’s weather. A rectangular white object like the shape of a cellphone slides over a surface printed with fake wood patterns. A geostationary satellite in the middle of clouds synchronizes its movement with the rhythm of breathing. The voice of a GPS takes over and seems to be guiding the sequence of images. Human presence is de-materialized. This presence, which we only see through the entity of the city, but whose voices and messages we hear. The bodies have assumed the form of those wireless objects which relay a whole mass of information. CR
Filipe Afonso
SPECIAL A/EFFECTS, 2017, 17 mn
SPECIAL A/EFFECTS is a film about films about films. A fight against reality. It takes its footage mostly from Hollywood studios’ fiction films (on and off screen) and analyses the evolution of the reality effect produced through fake means. A story is told that during the projection that brothers Lumière have organized in Paris in 1896 to show L'arrivée d'un train en gare de La Ciotat, people have believed in it so much that they have tuned their back and started to run out of the theater as the train was fast approaching them in the screen. To create this reality effect many means were used along the history of moving image, but the undeniable truth about cinema, the only thing that matters is what’s on the screen. Reality and fiction contaminate each other and it’s when fiction creates its own fictions that reality mysteriously emerges. A green screen may need to affect the actor to produce its effects on the public. FA