Playlist
A psychogeographer arrives in Israel to follow Highway one. Between familiar landscape and military infrastructure, he realizes that his very own migration is a border.
Gigantic signs mark the motorways of France. Symbolic images of the crossed territories in which some accept to recognize themselves, where others do not. A France of peaks and streams, cheese and good wine, beautiful abbeys: so many representations that reassure, federate and freeze. What is France? To feel French? Or is it largely adhered to a fable?
The wild teasel and the first love, each on the verge. Threatended by predation and struck by disappearence, caught between the mouth and the future of the abyss of absence... Unique in all eternity. Who else can oppose the deadly march and the dryness of the world. If we still have dreams that evaporate upon awakening, we are left with tears of desire to dream again, it will be a new world we will cry after.
La cardère sauvage et un premier amour, chacune reléguée aux lisières. Menacées de prédation et frappées de disparition, prises entre la mâchoire de l'avenir et l'abîme de l'oubli… Uniques, dans toute l'éternité. Défense des friches et des lisières, par la nostalgie. Qui, seule, peut s'opposer à la marche mortifère de l'avenir et à l'assèchement du monde. Car si nous avons encore des rêves qui s'évanouissent au réveil, et nous laissent en pleurs du désir de rêver encore, n'est-ce pas le monde entier que bientôt nous pleurerons ?
A neu-rural woman speaks about her life change, from the city to the countryside, all illustrated by a wooden character who is forced to flee the city.
Une femme néorurale témoigne de son changement de vie, de la ville à la campagne le tout illustré par un personnage de bois qui se retrouve poussé à fuir la ville.
The tree here is an ancient American Elm standing in Tompkins Square Park in New York. It's named 'The Hare Krishna Tree' because an Indian spiritual leader founded the International Society for Krishna Consciousness nearby. Meticulously edited, frame by frame, the tree comes to life, more than 40 years after the images were shot.
The life and work of Roberto Burle Marx (1909-1994) are portrayed in this documentary. The film presents his ideas and memories in a succession of sensory landscapes on the painter, sculptor and landscaper's trajectory: Burle Marx projected squares and gardens in cities like Sao Paulo, Rio de Janeiro, Brasília and Recife —most of them is marked by native plants of Brazil, that, together, make up wavy shapes.
A sensory journey through the recollections, travels and gardens of Brazilian landscape architect Roberto Burle Marx.
This film invokes our relationship to the dangers of construction, built for the purpose of a territory, for an era, for particular motives. Through the theme of major risks, we focus on the intensity of what is feasible but unforesen. The Rhône river is the main character and the flooding risk that the face which with we discover him. Aléa très fort is a symbolic diverse to the encounter of reel and imaginary outlines of an emergency evacuation situation.
Le film convoque notre rapport au risque comme construction, bâtie en fonction d'un territoire, d'une époque et d'enjeux particuliers. À travers la thématique des risques majeurs, il s'intéresse à l'intensité de ce qui est possible mais non-advenu. Le Rhône est le personnage principal et le risque d'inondation le visage sous lequel on le découvre. Aléa très fort est une plongée symbolique à la rencontre des contours réels et imaginaires d'une situation d'évacuation d'urgence
This fictional animal documentary places us in a distant imaginary future where life underwater as we know it today has been completely replaced by a new generation of species, made of plastic. The massive human pollution of the oceans has led to a profound disruption of our eco-systems, the laws of evolution have been jostled and led to the creation of new submarine mutants, observed in their natural environment.
A science-fiction story set in an indistinct coastal region, between land and sea, above and below water.
El Captain disappears, one of his disciples takes a journey in the ocean to cut off the internet cable, the water level is rising, an amphibian woman appears at the shore looking for her mother, and the memories of two women in a ward intertwine. Scientist Dr. Sharaf is trying to congregate all of them – the members of the secret society of amphibians – in an attempt to save the world.
The fossils show that extinctions are always trace of life on earth. The present s a transitory place in perpetual movement, perpetual change. In the context of deep time, changes will change thesemlves. Climate change is a tipping point in the ecosystems of our planet, a moment to examine the damage that were caused and imagine a future in which a different discourse can be built. In a distant future, ghosts will let us dig into the depth of time.
Les fossiles montrent que les extinctions sont à jamais des caractéristiques de la vie sur terre. Le présent est un lieu transitoire en perpétuel mouvement, en perpétuel changement. Dans le contexte des temps profonds, ces changements changeront eux-mêmes. Le changement climatique est un point de basculement dans les écosystèmes de notre planète - un moment pour examiner les dommages qui ont été causés et envisager un avenir dans lequel un récit différent peut être construit. Dans un avenir lointain, quels fantômes laisserons-nous enfouis dans le temps profond?
Passerine in Time exists in a space where two creatures and two distinct worlds collide, where the bird is trapped by virtual objects in space on a journey of desire towards its nesting grounds.A journey guided by compasses and perceptions beyond our comprehension.
Muybridge´s Disobedient Horses is a series of four episodes in which the artist Anna Vasof investigates where she can find the essence of cinematic illusion when she looks into everyday life and what happens when she uses everyday objects and movements as cinematographic mechanisms. Even if the principle behind the illusion has been around for many years and is taken for granted, each of Vasof´s episodes produces its own unique cinematic illusion. Each episode shows together with the animated story of how the illusion has been made. Unlike a magician, the secret behind the "magic trick" in her experiments is revealed, thereby making the cinematic illusions even more magical.
In the first episode with the title "Self-Portrait", she demonstrates an object made out of simple everyday objects such as a metal bucket, an ordinary lamp, magnifiers, rope and paper coffee cups. When she pulls the rope the lamp starts pending and the object transforms into an audiovisual instrument, which projects a frustrated figure who looks like the artist and starts hitting her head on the wall of the projection. A similar story takes place in the third episode with the title "The book of falling words 2," Vasof demonstrates a flip-book which shows the footage of a real book in which the words of different meaningful chapters are falling down.
When everyday life is used as a cinematographic mechanism the making off takes the new role. When the making off comes either into a direct dialogue or into conflict with the narrative of the illusion new meaning is created. Muybridge´s Disobedient Horses is a film which suggests a new method to tell stories with social and personal conflicts. (production notes))
In the Rouffignac caves, we find frescos, etchings, and drawings dating back to the paleolethic era. Impressed by the decomposition of the movement of aniamls that were represented I wanted via animation to give them life, the time of a few minutes.
Dans les grottes de Rouffignac se trouvent des fresques, gravures et dessins datant du paléolithique. Impressionnée par les décompositions de mouvement des animaux qui y étaient représentés j'ai voulu par le biais de l'animation leur donner vie, le temps de quelques minutes
A stupid insect, at the lower level of the food chain, endures its position as a prey into the forest. But suddenly, the established order is overthrown. The insect provokes, unintentionally, a sequence of accidents increasingly importants. It causes a wildfire that results in the destruction of the spacecraft in which the insect was living. The engine crashes on Earth, causing the extinction of dinosaurs. The insect, only survivor of the disaster, is now able to rule this new territory.
The logistics of containerization is so complex, that when seen from afar it could be an organism of its own. An organism that is shaping the world as we know it and whose sense of purpose is proportional to man's fascination of growth and consumption.
Un anneau de Saturne, un ballon de carnaval
The circles that you find in the windmills of your mind
The film addresses the great theme of humanity's self-destruction. A wanderer hero takes us as stowaways, on a poetic odyssey, a pelagic drift through an infinite universe forever marked by our disrupting actions.
What is behind the cinema screen? It is not surprising that cinema-in-the-cinema scenes are often used in horror films. For they irritate and unsettle by reminding us – the immobile viewers hidden in the cosy darkness – of our own questionable position. What if the forces of unlimited imagination penetrate through the canvas into our reality? What if the auditorium dissolves and with it the familiar laws of cinema itself? In a way never before seen, "tx-reverse" shows this collision of reality and cinema and draws its viewers into a vortex in which the familiar order of space and time seems to be suspended.
Astronauts in the desert of Oman. Or is it Mars? Bedouines, spaceships, desertships, two young omani girls passionate about space and a lost director reflecting about life in this Universe and the relation between exploration, nomadism, colonialism and freedom.
After the death of her father, twenty-five-year-old Belekmaa settles down with the shepherds on her father's remote farm. She assumes his position and hopes to see him again, if only in her dreams, before the day comes, when according to the Tuvan tradition, the spirit of the deceased would be fed for the last time and then ultimately bid farewell.
Camp on the Wind's Road offers a highly atmospheric and participatory cinema experience. Sad and cheerful, vivid and mystical, the film moves between the austere family life in the wilderness and the search for spiritual comfort
The wind rushes through the pages of a book to distort the lines and words into alphabet creatures.
In marketing and the retail sector, data analytics is widely used to profile and microtarget consumers and to predict behaviour. The ultimate goal, apparently, is for humans to be able to outsource all decision-making to machine intelligence (make Google do it!). What is at stake within the political realm?
Through its auratic and poetic use of computational imaging technologies, ALGO-RHYTHM scrutinizes the limitations, errors and abuses of algorithmic representations. (production note)
The data analysis firm Cambridge Analytica recently set off multiple scandals. The firm was credited with an important role in the election outcome in the U.S. (presidential election 2016) and in England (Brexit referendum). Users of digital networks were deliberately targeted with disinformation and inflammatory propaganda on the basis of illegally gathered personal data. Surfacing in Algo-Rhythm is a firm called Data Analytica, which generalizes the corresponding principle: nowadays, elections are won by algorithmizing campaigns rather than buying votes. Manu Luksch situates this process in her film in a surprising location: Senegal is considered one of the most successful African democracies in which politically-engaged Hip Hop, in the role of watch dog, has had continued success in mobilizing resistance to the abuses of power.
In Algo-Rhythm, the West-African country becomes a perfect example of future confrontations regarding political representation and decision making. Two candidates for the office of president face Mr. X from Data Analytica, who is advertising his methods. The discourse occurs in the form of a rap or a rap battle. Luksch lets a political landscape arise that also includes traditional figures (a Griot woman) and the people. The form of the exchange is rhymed, language advanced by digitally syncopated beats. In the background of the image, what is being talked about is obvious the entire time: Mr. X, the Aladdin of data analysis lets reality crumble into data bytes. Manu Luksch acts out the data maneuver with aerial shots and other landscape images, which at a different level also take place with the networks (with the "drugs of the nation"): in a cloud of selection, photogrammetric and other information-logic-based picture image processes dismantle the old (political) world of analogue representation, that is, voting and representation of the political body. (Bert Rebhandl)
" While on the verge of a manic episode, the mother of the director gets involved in a suspicious internet relationship. When the director finds out this is a dating scam, he takes on the role of protective parent over his mother, revealing the reversed roles that have developed over the years... "
I visit several cities and I hit my head on different surfaces. A microphone, which is mounted on my head, records the sound of these head-beats. A camera, located off to the side, records each action. In this way, all is made visible: the action, the sound recording, the surface upon which I hit my head, and the urban ambiance of the location. I make one episode for each city that I visit. The titles consist of the names of the cities and the word "hit". For example, "Vienna-Hit" or "Berlin Hit". For each episode a music piece is composed from the head-beats. The music is also used to structure the video editing. Each episode is around 2 minutes long. Hitting one´s head upon a wall is a worldwide known gesture. Desperate people who do not know what to do next might hit their heads against walls. This is not always literal. It is more often a metaphor for not knowing how to get around a strong sense of frustration. But if we observe this movement as an instrument, a hopeless action begins to transform into an absurd repetition. In the compositions, my head is played as instrument in multiple contradictory locations and creates an audiovisual urban "landscape" of the world. (Anna Vasof 2019)
Aquí y allá is an essay film that studies what being at home means. The filmmaker uses photographs, maps and Google Earth to connect places around the globe; not just from her own past, but also from the complex migratory history of her family that stretches back to Hitler-era Germany and Mao's China. Reality and the virtual prove equally confusing: however much you zoom in, you never get closer to home.
Man shapes his environment, which shapes his brain. Two hundred kilometres from Beijing, men live in a stone quarry amidst rocks that are waiting to be hacked, cut and sanded into sculptures. The same gestures come back again and again, to write a history of deterioration and repair. In the making of monuments, history is obliterated.
In 2010, Unilever announced the closing of the profitable Fralib tea processing and packaging plant in the South of France. After 1336 days of resistance, the workers celebrated their victory against the giant multinational and became owners of the factory. Now, with the take-over of the company and production under workers' control, a new struggle has begun. Can this alternative project be viable within an oversaturated, highly competitive market? TASTE OF HOPE is the fascinating story of a workers' cooperative on their bumpy and conflicting road to real utopia. Where idealism clashes with harsh reality, the documentary observes the factory workers as they face inevitable challenges. For two years, the filmmaker accompanied the workers in their daily struggles. Between general assemblies, cash-flow problems and tea tastings with potential clients, deception, and conflict emerge. Ultimately, the documentary poses the question: How do we need to work today so we might live in a better world tomorrow?
Inventing a poetic path through images created with Louis Daguerre's centuries-old photographic device, 16mm film cameras, pixelated video game consoles, early smartphones, and contemporary computer interfaces, the work asks: what aspects of reality have these different technologies been designed to document? What phenomenon, either too slow or too fast to be recorded, have escaped their capture? Are there still dimensions of our experience on Earth that have never been visually documented, and for which photographic technologies are yet to be invented? An investigation of the explicit and unspoken ideologies encapsulated in technology, the video unfolds as a web of apparently unrelated stories, progressively revealing patterns of technologically-determined political erasure.
At the turn of the 20th century, the 'flâneurs' started disappearing from the Parisian landscape ; Walter Benjamin became, in his posthumous book 'Das Passagen-Werk', the witness of their extinction. What if one century later, against all odds, the art of flânerie was reappearing in Paris? This poetic video essay is an audiovisual wandering that documents and reflects upon different urban practices where spatial circulation and digital navigation meet.
This video essay borrow sounds and images from the movie 'Paris n'existe pas', made by Robert Benayoun in 1969. It was produced with respect to French copyright laws, that allow audiovisual quotation for criticism and creative purposes.
The opening of Forensickness is set under the auspices of Gombrowicz's Cosmos: « And I was so good at deciphering still life that, despite myself, I examined, studied, and researched as if there was something to read ». A film about Chris Kennedy's brilliant Watching the detectives (FID 2018), Forensickness is a detective comedy appropriating for its own purposes the principle of its model: inquiring about the inquirer. Chloé Galibert Laîné lays bare hermeneutic procedures with such brio, playing the game of correspondences and everything included in them. She reveals, with some malice, to what extent the art of hermeneutics is equal to the cinematographic art of montage. This parallel of two unrelated things always results in that effect called revelation. Pursuing her incursion in the world of cinema, she wisely adapts the exposition of her academic toolbox made of citations, archives, borrowings and renewed usage to the aesthetics of a specific cinematographic genre she calls found footage. As she moves along, under the aegis of Rancière, she deconstructs Marxist and Freudian « grand hermeneutics » along with their sociological and structuralist avatars of the Sixties. Forensickness is thus a joyful demonstration that everything can be arranged with everything. Up until the final disclosure leaving us in exquisite jubilation and the idea that images, whether appearing on screen or pinned on a wall, are a projection surface before we can even consider them as signifying content.
A man shares a manga-inspired photomontage on social media, prompting a virtual voice to interrogate his motivations.
I Lost My Artichoke is an experimental short film and performance piece that takes place within the virtual reality environment of VrChat. The film explores the unique experience of wandering through this virtual world, interacting with its interfaces, and embodying avatars. It questions the nature of virtual identity, social interactions, and the blurring of realities. The narrative revolves around the search for the titular "artichoke," a metaphor for the journey of exploration and discovery in a digital space.
The piece blends performance art with digital technology to create an immersive, socially interactive experience, emphasizing both the playful and existential aspects of virtual existence.
Critical and descriptive analysis of an online article from Ça m'intéresse titled "Strange Living Beings Discovered in Antarctica." A freeze-frame on a GIF posted by the magazine shows a camera descending into the depths. What depths?
In an era where our favorite products have become the people behind our screens, where love is manifested with a swipe to the right. Through immersion in a gay dating app and various spaces to translate the users' feelings.
These two images seemingly have nothing in common, yet... Who is behind the Bilderberg Group? What is the connection between actor Joe Pesci, the intriguing newspaper Le Ploermelais, and the secret French laboratory in Wuhan? Mathis answers these questions during a presentation to his class, via video conference.
Filmmaker Ruth Beckermann documents the process of uncovering former UN Secretary-General Kurt Waldheim's wartime past. It shows the swift succession of new allegations by the World Jewish Congress during his Austrian presidential campaign, the denial by the Austrian political class, and the outbreak of anti-Semitism and patriotism, which finally led to his election.
This is the complicated story of the Nobel prize attributed in 2016 to one of the studies started in 1980, implying electrons, cups, donuts... and a hairy ball.
C'est l'histoire compliquée d'un prix Nobel attribué en 2016 pour des recherches entamées en 1980, impliquant des électrons, des tasses, des donuts... et une boule chevelue.
Carlotta's Face is an animated short film by brain scientist Valentin Riedl and animation artist Frédéric Schuld, illustrating the world of Carlotta, where faces do not exist.
"haunting Carlotta's Face, neither manipulative nor expected" The Hollywood Reporter.
"the fascinating German short Carlotta's Face" The New York Times
Carlotta's Face has been screened on >200 film festivals, and won 32 awards, among them the Scientific Merit Award at the 2019 Imagine Science Festival.
For more information on the project, visit carlottasface.de
When It Hinders is an animated documentary exploring the poetry and the metaphor of water, a stir in the fluidity of speech. A deep dive - in apnea - in the living of the speech impediment.
Quand ça bloque est un documentaire animé explorant par la poésie et la métaphore de l'eau, un trouble de la fluidité de la parole : une plongée – en apnée – dans le vécu du bégaiement.
Claudia Larcher frequently deals with architecture in her works. For example, she cuts catchy building parts out of photographs and combines them into multi-perspective collages in different media. In ORE, on the contrary, she falls back on natural formations. The video animation is an unbroken diagonal tracking shot. At the start, what one is being offered to look at isn´t clear. An irregular, crystalline relief in various tones of brown under a tender layer of clouds moves past the viewer. For lack of scale, the eye becomes lost in the abstract forms. Gradually, details surface that make it possible...
Many animal documentaries play on the theatricality of the wildness to present animals. This film plays with the documentary aesthetics to present the theatricality of life altogether.
Alors que les documentaires animaliers jouent de la théâtralité de la vie sauvage pour présenter les animaux, ce film joue avec l'esthétique documentaire pour présenter la théâtralité de la vie tout entière.
"Totems et parades" contient des images susceptibles de heurter la sensibilité de certaine.s spectateur.trices.
Simulated images of crowds are compared with accounts from Liverpool FC supporters, who recount their experience marked by a tragic event: the Hillsborough disaster in 1989, when 96 people lost their lives, which changed the nature of football.
A crowd simulation software serves as a tool for exploring football supporters' collective memory. + Images of crowd simulation are faced with testimonies from Liverpool Football Club's supporters who recall their experience marked by a tragic event : the Hillsborough stadium disaster, in 1989, which changed the nature of the game of football.
This film evokes a time in the lives of Corsican farmers when existence was not merely a matter of labour, food, animals, and the soil; just as crucially for their continued survival, it involved dreams, signs, visions, spirits and protective spells of the type that Jean Epstein once filmed. This way of life passes not only because of the encroaching modern world, but also because the old ways, and the most enchanted members of the community, have died. Reboulleau weaves speech, music, documentary-like images, and striking archival footage of the region into an elegy that transcends naturalism.
"The story seems to reflect an innocence as much as manipulation, with the people having faith in what they "see" while also likely wanting to believe in something bigger than them, something hopeful, and there is real power to that hope."
In the childhood of Mounir Fatmir in Tangiers in the 1970s, one of the most rare cultural objects in his home was a black and white photographc of king Mohammed V, known by the Morrocans as the "Moon King." For a long time, he thought that this person in the photograph was a member of his family, until he started school where he learned the truth, and the incredible story of how this king came to power.
Durant l'enfance de mounir fatmi à Tanger dans les années 1970, l'un des rares objets culturels dans sa maison était une photo en noir et blanc du roi Mohammed V, connu des Marocains sous le nom de "roi lune". Pendant longtemps, il a pensé que cette personne sur la photo était un membre de sa famille, et ce n'est que quand il a commencé à aller à l'école qu'il a appris la vérité, mais aussi l'histoire légendaire de son accession au pouvoir
Somewhere in the Ukranian hills, near the Roumanian border, Gigi celebrate Malanka, a pagan feast of which the bear is the hero.
Ange is the result of discutions between two artists and a "hikikomori". This term imported from Japan, which has no equivalent in France, is used to describe young people, sometimes even teenagers, choosing not to leave their room or their apartment for months or even years. Ael is one of them, recluse in a shed in his parents garden for 13 years, somewhere in the south of France.
The artistic duo fleuryfontaine has maintained a relationship with him using internet. They used the video game as a medium to try to reconstruct the world of this hikikomori and to engage a dialogue during game sessions where Ael evolves in the environments created by the artist. His room, his objects, the parental home, his neighborhood, this film reveals the fragmented portrait of a man hiding from the world.
Brussels. One day at a flea market I found a suitcase filled with reels of 16mm film that belonged to a mysterious Doctor Veroft. A keen insect enthusiast, he had spent fifty years filming all kinds of bugs, dissecting them, observing them, taking notes. The line between fascination and obsession seemed to blur. Like an investigator, I decided to try to find out what lay behind this man's strange passion.
Mister Courroie is afraid that his world will slip away as things multiply; he is afraid of disorder.
M. Courroie a peur que le monde échappe à l'agencement des nombres, il a peur du désordre
Dreaming in Aspect Ratio" is a hand-made diary film and experiment in disrupted stereoscopy; an adopted "found" home movie. A playful self-portrait in found dream memories.
An experimental documentary and surrealist détournement, "Dreaming in Aspect Ratio" is created, in part, from public domain materials.
Artifacts from a Maoist life intersect with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work "When the Sun Sets It's All Red, Then It Disappears" from 2008.
Who´s Afraid Of RGB continues a direction clearly evident in THE and TOUTES DIRECTIONS (2014 and 2017, both created together with Dieter Kovacic), digital works through which Billy Roisz specifically engages cinema and its formulas. Paralleling her previous treatment of the horror film and the road movie, Who´s Afraid Of RGB subjects the genres of romantic movies, dramas, and melodramas to Roiszian compression. Who´s Afraid Of Virginia Woolf? stands in for these genre types, conveying an expressive, raw and impulsively out of control emotionality. The most complex emotional sequence in Who´s Afraid Of RGB is seen in the reflections...
This short film links archival images and graphic renders, proposing a dive into the architecture of the Hammaguir space base. For the reasons of an investigation, a past employee attempts to go back in her memoires. But her memories are fleeting, almost drowning in the torpor of her past daily life under the sun of the Algerian desert.
Ce court métrage associe films d'archives et création graphique pour proposer une plongée dans l'architecture de la base spatiale d'Hammaguir. Pour les besoins d'une enquête, une ancienne employée tente de remonter le fil de ses souvenirs. Mais sa mémoire se dérobe, comme noyée dans la torpeur de son ancienne vie quotidienne sous le soleil du désert algérien
Mohamed Saber is 17 years old, he has been writing poems since his childhood in Sudan and Chad. He writes about Darfur, his region of origin, about his memories and forced displacements, about the present.
Arriving alone in Toulon in 2016 by way of the desert and the sea, I met him through the association "L'autre c'est nous" in which he learned French. Soon after, he began translating his poems with my help and that of others, while continuing to write.
"How shall we say?" This is the question we ask ourselves together and which we try to answer using our own communication tools.
Iran, 1988. Thousands of political prisoners, locked up since the aftermath of the 1979 revolution, are massacred. The last revolutionaries opposed to Khomeini are liquidated in secrecy. Among them is Fatemeh Zarei, my mother.
While the Iranian state still denies its crimes and tries to erase their traces, this film goes in search of the places, objects and gestures that will allow us to unravel the silence, when personal experience is the only thing that can bear witness to politics.
In this story, water and liquidity are modes of connection between bodies, human and non-human, and the ocean. Hundreds of False Killer Whales have stranded on the coast to protest against the femicide of Juana Llancalahuen, who died under the blows of her husband. The film evokes the violence behind historical and scientific narratives, as they are written by and for the privileged.
Trees breathe permanently, we can breathe together.
This film was made on the research platform of the ESE lab in the barbeau forest and in collaboration with Claire Damesin, and was inspired by the scientific protocols in ecophysiology for studying trunk respiration using « measuring chambers ». The word room is interesting here because it is a question, for the artistic project, of finding oneself in privileged contact with the tree, thus, in a transparent geodesic structure surrounding a trunk, the human breath can be intimately mixed with that of the tree. A new protocol has been developed to visualize these cross-breathing, materialized by CO2 flows. An infrared camera with a cooled lens, used for the detection of gas leaks in industries (FLIR GF 343), has been diverted here from its original application, in order to capture the lightness of the « breath » of the tree, very thin compared to that of humans. Its very fleeting visualization shows the fragility of this interelation and its preciousness.
These intimate exchanges of breaths in the forest led to the production of the film
Dendromacy (Diagonale Paris-Saclay art science grant, Lightcone post-production residency), 2017, 10'22.
Editing in collaboration with Gabrielle Reiner, music: Jean-Michel Ponty.
i told you... you left..
je te l'ai dit ... tu es partie ...
A meteor impact 65 million years ago wiped out the dinosaurs. Helene Garber's 'Chixculub - tierra extraterrestre' is shot in Yucatan, Mexico where a guide takes us on a carsick taxi risde towards a small town, when the square is set up, as a sort of 'memorial' for the extinct species, all the while explaining what happened. A mini-apocalypse does, however, occur in the form of a technical failure, which escalates with every bumpy mile of dusty road travelled. The sound disappears in the noise and the passing landscapes are dissolved into a sludge of overexposed pixels. In the end, we make it to our destination, but if you expect a spectacular theme park of Disney'esque proportions, you might well be disappointed. Helene Garberg's short video is anthropological deadpan at its best.
Greetings from near to far, from us to you. All inclusive, welcoming all. Over distances, over time. You are all welcome. While greeting customs are highly culture and situation-specific, they exist in all known human cultures. The greetings that form the narrative in Hello Everybody are taking the familiar ritual one step further.
In her laboratory, an oceanographer experiments with temperature and salt content determining the survival in the diver of St. Laurent of micro-algae Protoceratium reticulatum. Between the visible and invisible, the filmmaker follows the scientists in her research revolving around dinoflagellate, a splendid organsm microscopic monster responsable for the red tides. Red tides are conditions when a dinoflagellate population increases to such huge numbers that it discolors the water. The dinos travel in the water of the ship ballast tanks. When the ships empty their ballast tanks in our water, that is when things get messy.
Dans son laboratoire, l'océanographe expérimente la température et la salinité déterminant la survie dans l'estuaire du St-Laurent de la microalgue Protoceratium reticulatum. Dans les allers-retours entre le visible et l'invisible, la cinéaste accompagne le chercheur dans ses recherches autour du dinoflagellé, splendide organisme monstre microscopique responsable entre autres des marées rouges. "Les Kystes et les dinos voyagent dans les eaux de ballast des navires. Lorsque les navires viennent vider leur ballast dans nos eaux, c'est là que ça peut devenir problématique".
The title of the film is an evocation of the first entomology book of the XVII century, "Theatrum insectorum". In this book Thomas Moffet exposed insects as entities, each of which deserves to be examined. Here, the theater becomes a chamber, precisely that of the camera where life took place. Where does this mysterious presence come from inside my camera? How is it possible? She seems drawn to the light. Is this the condition of his presence? Camera insectorum is a short poem celebrating the evanescence of light and life.
In the series Écoumène initiated by Lia Giraud, this film focuses on the evolution of terrestrial spaces inhabited by human. Herre, the story of Vohbola, one of the last forests of the east of Madagascar, on the brink of deforestation. Transformed by colonialism followed by intensive exploitation, this natural habit speaks for itself through the relations that each have - all living organisms that populate it.
Dans la série du projet Écoumène initié par Lia Giraud, ce film s'intéresse à l'évolution des espaces terrestres habités par l'humanité. Ici, l'histoire de Vohibola : une des dernières forêts de l'est de Madagascar, en proie à la déforestation. Transformé par le colonialisme puis par l'exploitation intensive du bois, ce territoire naturel se raconte au travers des relations que chacun tisse avec le lieu et avec les autres formes de vies qui le peuplent.
Interbeing is based on documentation of social structures and their different approaches to trust and fear. The material is presented through a thermal camera, the optics of which do not register what is visible to the eye but render shades of temperature; a perspective granting all living beings the same conditions of representation.
The film Interbeing is based on a non-linear documentation of social structures and their different approaches to trust and fear. The material is presented through a thermal camera whose optics do not register what is visible to the eye but render shades of temperature.
"There is only one moral worth in this story, one essential fact: we are nothing but ridiculous sparks in the light of the universe. May we have the wisdom not to forget it." - Hubert Reeves
The film UMBRA deals with rare and common optical phenomena that occur in nature. These phenomena evoke familiar images such as shadows or reflections on a water surface; but also unusual ones like the "Brocken spectre" or the pinhole effect during a solar eclipse. These ancient and natural projections can be considered as pre-cultural and independent of any apparatus. They occured even before mankind and are united by their intangible, ephemeral presence. In their immateriality and fragility, they are precursors of the cinematic image. The film UMBRA develops a visual dialogue between phenomenon and apparatus, archetype and image, self and self-perception.
Seven astronauts wake up in a spaceship, not knowing where they come from nor where they are heading.