Dominik Lange

A day by day diary of Raphaël Bassan's Lucy en miroir. Dominik Lange followed the shooting of Lucy en miroir for a year. He restructures the material of the film itself and confers to Promenades champêtres an astonishing poetic vision. The shots are often slow and hypnotic. The mystery of this new film does not take its roots in a cinematographic or a literary tradition like in Raphaël Bassan's film, but in life itself. Every day life is magnified by Dominik Lange's camera-eye which restructures the sequences and gives his film a different, yet complementary vision, of Lucy en miroir.

The fortuitous meeting of two women to the identical first name, Lucy, who formerly loved the same man, Jonathan, induced, in this film, of the polysemous variations on the memory, art, and the difficult relationship between creation and emotional life. Dehumanized by an exclusive artistic practice, the man lost his reference marks little by little. "Lucy en miroir" wants to be, also, a shifted and transverse second reading of "The Contempt" ("Le Mépris") of Godard, by a step more plastic than analytical or conclusive.

Les Deux Lucy is a short documentary portrait of the shooting of Raphaël Bassan's film Lucy en miroir. It's the opportunity for us to look at one of our contemporary filmmakers and important film critics of what we call in French cinémas differents, meaning a different way of making films. Our making of offers the opportunity to follow, step by step, the making of this short film with scenes shot on the set, and to listen to comments by the filmmaker about his work.

A film of lyric abstration, with spirituality as its subject matter...

"It's a poetic camera through Super 8 film which plays of the electric guitar in an increased vision of daydream! But in fact this is my very last Super 8 film cartridge (Fuji Velvia 100 daylight) realized this summer, then projected on the wall of my room, and Re-filmed with stolen by means of a smartphone for a division in public on line on vimeo! The cords of the electric guitar which break time with other, or then the guitar's mediators pulverized to replace are to me much less expensive than filming into Super 8 nowadays…" —Dominik Lange

This is the story of a trip through the countryside, cutting through fields, beyond the horizon of the landscape in search of a lost spirituality.

By a bucolic afternoon, quiet and shone upon, we are in a park, for a ballade in the boat and a turn of horse-gear. The nostalgia of a life of idleness is disturbed by the indiscreet and rythmée presence of the camera.

A modest collage of images recorded while strolling through Paris...

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"A film completed as part of the hands-on workshop Pages Arrachées proposed by the cinematographic collective L'Etna. A book without a cover. You don't know the title nor the author. Tear out a page. Look at it, read it. Thread up a super-8 cartridge. Film these 3 minutes. Look for shots. Those that are to be found in the text and those that are not there. Those in front of you that bring out the words that still have a hold over you. Text fragment read and treated by Philippe Vernier." —Dominik Lange

"...Chrysalides use[s] the movie camera as a still camera, flickering between different stills of natural forms, proving once again that movement is not created in the film but in the brain.” (Pip Chodorov, 2002)

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Natural devices are used directly during the shooting process to transform the image with the help of moving mirrors, animated by the surface of water waves and other tremblings on lake surfaces, as well as other bodies of water in the natural space of the Paris urban area.

The artist sets up his camera in front of a run-down shack. He will attempt to penetrate his subject with a series of agile and inquisitive camera movements. Although open to the four winds, the building is presented to us as an impenetrable castle: there are bars on the windows, locks and pulleys: a series of obstacles blocking our access. Lange launches his attack by panning horizontally, then vertically, across the walls; these are scarred with broken windows, which provide the principal motif for the film. This panning movement continues, with a series of variations based on the geometric patterns offered by the half-broken windows: a series of backlit triangles and rectangles, which at times suggest an anthropomorphic motif. The use of different shooting speeds and of in-camera double-exposure causes the film to fluctuate between documentation and abstraction. L'Ailleurs - Somewhere Else - is the interior which the film never penetrates.

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We have fun and we know how to party when we stop working at Collectif Jeune Cinema!

The film-maker lets his eye wander along a glistening stream; he is both fascinated by nature and melancholically introspective.

The twilight and half-closed vision of the blinding bursts barely reveals fleeting and luminous unexpected phosphorescences, through and through the scenery, like so many flashes of understanding, promises of famous colors to come...

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