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Animals on one side, people on the other.  Between night and day, the presence of the camera introduces the fiction.  The robotization of livestock-rearing under the watchful eye of Sarah del Pino turns out to be as intriguing as it is alarming.  Julie Chaffort, for her part, films a strange western.  Her characters enjoy merriment while the only professional actor in the troop becomes a spontaneous prompter and liberates them. 

Sarah del Pino

Rêvent-elles de robots astronautes ?, 2017, 25 mn

Beneath the aesthetics of a science-fiction, the camera gradually abandons the world of humans and enters a parallel world.  We discover a microcosm made by Man, and yet deserted by him.  In a dairy farm self-managed by computer software all the desires of these female workers are satisfied in such a way that the only persistent voice is that of the robots.  The boundary between the natural and the artificial becomes vague:  born into this world, these domestic cows evolve in their “natural” environment.  Like creatures in the shadows, they endlessly produce our future consumption of milk.  Enclosed in a shed, just a field separates them from our society.  SdP

Julie Chaffort

Les Cowboys, 2016, 29 mn

production : Pollen, artistes en résidence et Est Ensemble

In the film The Cowboys, Julie Chaffort has defined a slow pace, the pace of time being stretched in the torpor of a scorching sun in the American desert, and also the pace of the everyday lives of the handicapped people she films. By creating a very open setting, in which everyone plays their own character, alone or with several others, the director enables the real lives of her actors to find their way into the film. Her characters are themselves and, at the same time, other people. They happily get involved in disguises, incarnating the cowboys and cowgirls whom they have possibly dreamed of being. And what they instill of their own lives in their characters, so at odds with what one might expect of “real” fake cowboys (because we often only know them through films), suddenly seems spot on.  Camille De Singly

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