TWENTY SOMETHING
programme
The twenty-somethings, students and young adults, filmed by Laurène Carmona, who is interested in her own generation, are the starting point of this programme. Films about youth, student films and films made immediately after the years of training are presented to have a look at those who are twenty-something and who film themselves in those years which, if we are to believe Laurène Carmona, never stop expanding.
Laurène Carmona
No waves, 2016, 12 mn
Master Audiovisual Film Directing, LUCA school of Arts Brussels, 2016
Since 2011, my work has been focused on my generation by way of young people solidly attached to their places, their environments, and their times. They have grown up with the 1990s and 2000s, when Pop culture was becoming as subversive and avant-garde as the independent culture. They are the twenty-somethings, students and young adults. Looking for happiness, identity and fun, they thus create an “autonomous territory, their own biosphere”. “Everlasting teenagers” as we have already been called, when adolescence sets itself up as a solution of expectation. So it endures as a transitory personal state in quest of identity and at the same time as a social group. According to my idea, adolescence today might extend to thirty-something. It is above all a state of mind and a way of living. LC
Juliette Gadenne
Insane dream, 2017, 1 mn 54
Athens School Of Fine Arts et Esa Tourcoing
This short film is a transcription of an unhealthy, not to say erotic dream. The project was first and foremost to create a sound telling a story, and then create images in the wake of those sounds. So we are plunged into the dreamlike world with distorted images, unreal colours, disquieting sounds, and lights which we are unable to turn off: a perception of the world which seems blurred and without rhyme or reason. JG
Thomas Schmahl
Le rouge de nos désirs, sur l’envers de nos cuirs , 2017, 12 mn
ESAD Reims
Beneath the skin, the hairs stand on end, and there are goose bumps. After a few drinks I become sensitive. The rubbing of clothing, the touch of a cool glass, late afternoon in spring, the days are already long and the shooting can carry on until dusk. An interminable day, hardly any down time, for lack of budget. Doing things quickly and well, even if this is impossible. The crew gradually grows tired. The eye is no longer lucid. The drinks don’t help things at all. The camera is still operational, despite what is left on the memory card, which is running out. Time rushes forward. It expands matter. TS
Nassimo Berthommé
Le Syndrôme de Koï, 2017, 12 mn 37
esban (école supérieure des beaux arts de Nîmes), 5eme année
An anecdote is told, like a metaphor of confinement. From absurdity to poetry, the film looks for a form which suits it. Spaces are overlaid and encounter one another, in order to make room for the image and the figures which inhabit it. NB
Alexandre Erre
Feeding the multitude, 2017, 12 mn
Feeding the Multitude is a fiction. A ritual. The carp is a scapegoat. Making more bread for the famished crowd. This conspiracy does not work because of a joint action: on the one hand, the mass eager as anything to feed on suffering and, on the other, the mass seeking absolution. AE
Benjamin Vertu
100% Vrai, 2017, 8 mn
ESAC Cambrai
“Why should I go to the other side of the globe if i can travel in my bedroom with music ?”
Gilles Deleuze, V comme Voyage.
100% True plunge us into an absurd and discarnate universe which is stuck in the 90s. This short film used pictures taken from agricultural magazines. As Deleuze’s abecedarium, pictures are analysed, mixed to convoke our collective unconscious. We are in full introspection of an extinguished world that is ours. Landscapes are converted into a new representation. What appears artificial grow further away. Romantic nature is now a nostalgic object. BV
Eléonore Berrubé
Toutes les couleurs de la nuit, 2016, 16 mn 30
CREATACC (IUT Di Corsica/G.R.E.C.) 2014-2015
Tonight, the wind is unusually strong. Lea joins her sister, Colette, in their childhood home. The house has been sold, they have to empty the place. They grew up in this house. It was in the yard that they learned the roller skate, in the kitchen they ate their birthday cakes. Now, they are twenty, their parents are gone. Pragmatic, Colette has already started storage, alone. Lea, more introverted, returns with reluctance. The last time she came, it was to bury her mother. Through her, the place no longer have the same resonance, and communication between the two sisters is not easy. Lea doesn’t speak, she expresses herself through her nightmares and images that translate her misery more gently. As tears can not flow from her eyes, they will come out of the pores of her house. This last night must be an opportunity for Lea to let go of her mother. But rather than suffer this loss, she will appropriate it, burning her memories to make them immortal. If they have no body, they will be able to float beside her forever. EB