2016
PEAU D'AMBRE
Elodie Fradet
Where is when
2012, 2013, 6 mn
Deux figures, deux identités fantomatiques sont plongées dans un isolement, une solitude du quotidien. Ils habitent et déambulent un paysage naturel traité comme un décor sans que l’on puisse les situer, sans que l’on sache ce qui est de l’ordre de la fiction et ce qui est de l’ordre d’un réel révélé dans sa théâtralité. Les actions paraissent banales mais trouvent pourtant une grande intensité, dans la solitude existentielle de personnages privés de la parole. J’ai tenté de saisir la pure présence de mes acteurs, en scrutant les corps comme des paysages sensibles. Je me suis sentie ici proche de Paul Valery pour qui la peau est ce qu’il y a de plus profond, et donne la ligne de ma démarche, l’image mouvement comme art d’explorer les surfaces. EF
Robin Labriaud
Levant
2015, 16 mn
ESA du Nord - Pas de Calais ( Dunkerque-Tourcoing), Tourcoing
On a winter’s morning, a man decides to take his canary for a walk. A woman wanders through the town with her bags filled with bottles of water. The two characters meet in a utopian place, the Louvre-Lens. Constructing my image by confronting myself with real time is essential in my work. I film the procedural gestures of the man and the woman, and their everyday actions, like rituals, in which I include a strangeness. They are perceived as ghosts who are living on the edge of a real and unreal world, even a utopian world. The presence of my actors in a state of muteness is essential for me. It makes it possible to create an art of observation. Everything passes by way of the gaze and the reflection which issues from this contemplation. RL
Lola Gonzàlez
Nous
2013, 4 mn 55
Seven people cross seven landscapes in search of positions: of body and mind, ranging from the individual to the group. Using a Cat Stevens song, races through the landscape, and words given to each other, they head towards a common ideal. LG
Gilles Ribero
Ligne de fuite
2015, 7 mn 42
Production Le Fresnoy Studio national des arts contemporains
The film starts with a cell phone found on the seashore and the video which it turns out to contain. It is the result of a desire to go beyond a scene depicting a fall, of seeing it come to life in another context (that of its discovery), with another vocabulary, and of taking the grotesque factor, which imbues it in this other terrain, to romantic connotations. GR
Anna Buros
Speech of Space Gorilla
2015, 13 mn 15
This is the story of an attempt at intergalactic communication in a confused post-apocalyptic context. As a hypothetical science-fiction film, Speech of Space Gorilla presents the dialogue between a space gorilla who has destroyed the human species, and a man, the sole survivor. Because they have nothing else to do with their time, they learn, more or less, how to communicate. Freely inspired by Robot Monster, a B-movie made by Phil Tucker in 1953. AB
Dimitri Robert
L'Artificier ( The Powderman)
2014, 4 mn 58
This is the story of an attempt at intergalactic communication in a confused post-apocalyptic context. As a hypothetical science-fiction film, Speech of Space Gorilla presents the dialogue between a space gorilla who has destroyed the human species, and a man, the sole survivor. Because they have nothing else to do with their time, they learn, more or less, how to communicate. Freely inspired by Robot Monster, a B-movie made by Phil Tucker in 1953. AB