Jacques Perconte

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

A film about the magic power of nature. A journey to the heart of impressionistic Normandy. A colorful stroll in search of light and time.

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Musician Jean-Benoît Dunckel, one half of the band AIR, and filmmaker Jacques Perconte, who works with Jeff Mills, an artist known for his colors and landscapes, who sculpts with his digital palette. Together, they created especially for the opening of the festival, a dialogue between improvisation and high-speed chase. Normandy's wooded countryside, magnified for the occasion, turns into a thousand suns rise and dazzle us.

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"Mountains are falling, and there's nothing we can do about it. And even if we have the means to rise to their height to admire them, to surpass those inaccessible peaks where many explorers lost their lives trying to gain the privilege of overcoming them, the mountains will continue to fall as they continue to rise. If Mount Blanc falls, it also rises."

For this new work created for Le Générateur, Jacques Perconte sensually captures the high mountains, the camera listening to a few mountaineers suspended in their efforts between skies and stones, their hearts vibrating to the rhythm of their gestures, balance between two dimensions : there and here. L'Effort, le monde transforms the 400m2 of the Generator into an immense porthole, like the cockpit of a strange ship discovering a land that we can no longer see without thinking of the infernal machine that makes us powerful. The film has neither beginning nor end, in a continuous movement it accompanies its visitors outside of time. Thus propelled into another dimension, the space of the Generator allows a journey to be made sitting or standing, or leisurely while strolling.

For Jean-Luc Godard, with all the admiration and affection of Jacques Perconte and Nicole Brenez. December 3, 2020.

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The bodies mix. The hands rhythm, the kisses slide. Time is going red. The view is to be reinvented. The story of this meeting is music. The video is his skin. The projection is in bed.

The Satyagraha (from Sanskrit सत्याग्रह) or embrace the truth "(satya = truth agraha = seizure) is the principle of non-violence civil disobedience that Mohandas Karamchand Gandhi was introduced. What happened to the values of Gandhi today? What world do we want to build. Se film does not lecture, he does not explain, it opens a space to slip and sensitive issue.

A gentle and patient travelling camera accompanies sunrise on the Père Lachaise cemetery, and by continual metamorphosis of the visual material shows a break through crossed by a chromatic life inexhaustible variations. A film born from Léos Carax's Holy Motors, with whom I collaborated on a music of Jean-Benoît Dunckel.

In the heart of the mountains, the most precious minerals are hidden in the stone. Some people read the history of our universe in the rock folds, while others see signs of possible veins they could exploit. If concentrations were once too low to generate profit, we could be sure they won't be one day soon. This panoramic of summits and glaciers that draw the Meije overlap in the Ecrins. We slide from 2668 m to 3357 m altitude. The rock here is granite and gneiss. Bathed in gold, it releases light and vibrates with thousands of colors.

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The entire film is based on one motionless shot of the sea, behind which rises a hill and in the middle floats a boat. The tension rises with the changing autonomy of the image.

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TGV Paris-Bordeaux, tuesday january 6th 2009 : dawn... And airs grown calm when white the dawn appeareth And white snow falling where no wind is bent . . . Guido Cavalcanti (1255, 1300) Film (numérique) de 6', HD 720p, juin 2009 rom black to brown and then white, red and yellow, the light of this snowy dawn was astonishing. I had this phrase from Guido Cavalcanti in my head. I wanted to put it into colors. I wanted to film a landscape in movement, a landscape unfolding, a landscape that would go to our hearts through the play of fragile materialety and of pictural poetry.

With Morgane Bébin and Isabelle Claus. A dance film where the choreographed combat resonates with the film's subject matter.