Acting
Tak is a work composed of 15 pieces, which I called "visual songs." The film's structure mirrors that of a pop music LP. Tak is a tribute to this genre of music, and in that sense, it is stylized and decorative. Its content is subtle, subconscious, and almost unrecognizable. (P.B.)
The two friends alternate behind the camera, filming their two principal subjects, their partners Anita and Poupée.
In the distant future, a spaceship inhabited by a group of young descendants of a "subversive" minority who escaped the destruction of the Earth, recovers a capsule in which the hibernating body of a reactionary warmonger has been preserved, who after having caused war and death, it has abandoned the now unlivable Earth. The visual experimentation aimed at the liberation of the gaze is intertwined with psychedelic visions on the one hand and with the orgone theory of Reichian memory on the other.
In this film, as in all my previous ones, there is a direct connection between inner urges and cinematic rendering. I tried to visualize my present aspiration to recover, through the various ways taught by one’s experience, the easiness, directness and ripeness proper to children’s relationships and affective life. This film is maybe a track of this path backwards. – A. L.
The journey, which began in India two years earlier, comes to an end at a farmhouse in Tuscany. The two travelers—Poupée and Paolo—decide to "rest" in the countryside, where they begin to discover the pleasures of self-analysis and contemplation. Their Indian experience bears fruit, and Taoist wisdom comes to their aid. The two protagonists seek to discover (don't laugh) the meaning of life.
