The Confrontation, 2014, 15 mn
The two films in the programme draw inspiration from the series notion, taking the episode as it basic unit. In The Confrontation, Sabina Jacobsson freely adapts one of the three episodes of the TV series Hotel Room, made by David Lynch and Barry Gifford in 1993: Getting Rid of Robert, episode 2. The plot has the emblematic room 603 as the site of the action. The protagonists, on the other hand, become a group of gay friends. Tony Regazzoni for his part tackles the Old Testament in its Hebrew version (the Torah) to compose Genesis. In the film, which is divided into three episodes, -just like the organization of a classical tragedy, incidentally-, Tony Regazzoni offers us his version of Genesis in epic mode with many different references, and also clearly highlighting the issue of Gender.
In The Confrontation Jacobsson plays with one of the episodes from David Lynch’s TV-series Hotel Room (1993). The severe plot and the fundamental consequences of the main character’s reactions, is being served to us with laughter accompanied by experimental sound and music. A third out in the video the lover’s former lover, Marius, lies on the hotel bed of the main character and reads aloud from Camille Paglia’s Sexual Personae. This reference enlightens the artwork’s theme as well as the artist’s method. Through personal studies of other artist’s works, Sabina Jacobsson presents an image on our own ability and will to exclude our fellow humans. The art work’s theme exceeds an interpersonal level when the drama is set in a homosexual context and we sense the contours of systemized exclusion. Eva Løveid Mølster
Genesis, 2016, 18 mn
FNAGP and DRAC Île-de-France
Genesis is the title of what I call a soap opera in three acts, inspired by the Old Testament, and more precisely by its Hebrew version (the Torah), the oldest version in which Elohîm (God) created a unique being who was both male and female—usually described by the term androgynous—based on whom Adam and Eve were conceived. Dustin Muchuwitz, who plays this part, is an emblematic figure of this ambiguity which she asserts in her day-to-day life. A fight which touches me both because of the strength it calls for but also because it seems to me to become the most accomplished form of human existence, which I would liken not to a transgression but more to a revolution, a surpassment. The film weaves a set of symbolic digressions about the spherical geometric form interpreted as a universal matrix: at the origin of particles, atoms, life, and geometry. TR