Martine Rousset

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Gérard Courant applies the Lettrist editing techniques of Isidore Isou to footage of late 70's pop culture. Courant posits that his cinema offers an aggressive détournement to the French mainstream, reifying a Duchampian view of film: "I believe in impossible movies and works without meaning... I believe in the anti-movie. I believe in the non-movie. I believe in Urgent... My first full length movie that is so anti-everything that I sometimes wonder if it really does exist!"

"Readings. A place. Purity of lines. Fine angles. Dominance of whites and blues. Fragility of tapered glasses." A visual evocation of the writing of Katherine Mansfield.

The first part of the Carolyn Carlson cycle. Between her and herself. Three images of the dance are repeated, come up against opacities that do not let themselves be crossed, are lost in transparencies from which there is no reflection. The sound describes their inevitable journey: this motionless movement.

A film about my relationship to New York since 1962. It deals with the distance between a memory and the image of this memory, a distance one always tries to abolish. In this personal film we see the images of a city from a close distance, with autobiographic fragments on the soundtrack. The distance of recollection. The trace of this distance shapes the memory as much as the places, haunted by so many stories, so that our marks will blow up in a crash. A crash leading to a collapse in a vortex of affects.

"Yerevan, Armenia, in the illegible secret of the country, imprisoned in its shadows, in its nights of the underground, nights of the basements, trains for nowhere... ephemeral traveler, light sleeper..."

No description available.

Listen to the trace, over the absent times, from the shore, at the very edge of the page, in the blind corner where the reader is held, give a voice, as one throws a net.

Landscapes. A utilitarian nature. Contemporary. Cruel images. Changing. Seasons. The watch could be eternal. Each image transparent and non-avenue. Only the sound volumes will unfold an obscure duration.

The city is leaving, slowly casting off, on the edge of time... It is leaving lightly... Not so far away, elsewhere, where time passes, has passed, will pass, on the horizon of time... The image glides on its path, a paper cargo ship, daughter of oblivion, free of history. It passes like a cloud, a dead leaf... A few stones remain, marked by vague eternity. A voice passes, from time to time, from distant memory... An ancient traveller? A distracted vagabond? It stands far away, in the rolling of time, silent.

On the one hand: A frame - and then windows in the frame - Spiked - from one to the other - Images designated - fenced, inside / out. Every moment broken - repeated. Always past. One after the other. Cruelty of the open boundary itself - and immediately some untimely object comes up against it - clog the sight - obliterate the frame. On the other hand: The note pursues an eternal moment. It's his game, run the frame, draw the embrasure, and so on. (...) she passes. Immediately in it she plays with nothing. Immediately outside she finds.

Aurore collective is composed of 50 sequences filmed in Dijon and Paris (successive places of residence of the filmmaker), Chalon-sur-Saône, Valence, Cannes, Greece, India, Afghanistan and Pakistan.

A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, Stéphane Marti, Pascal Martin, Michel Nedjar, Dominique Noguez, Vivian Ostrovsky, Bernard Roué, Martine Rousset, Alain Sayag, Unglee, and Catherine Zbinden.

"The sea is a language whose meaning we have lost" Jorge Luis Borges

To examine the image of this face, this look, there are fragments of raw stories, mineral lights, snatches of an endless dream ... The insistence clashes, until abstraction , To the decomposed time, to its chaos with the gleams of stone. From that face coming back, nothing was said. The look can not be deciphered. The illusion, even to the darkness, remains mute. Signs of an absent song.

One year before starting his famous series "Cinematons", Gerard Courant had made an ancestor to this series: the portrait of Martine Rousset, filmed with a Bolex 16 mm mechanical.

Reel 3 of Gérard Courant's on-going Cinematon series.

No description available.

Traces of stories. The images themselves. Tear off. Stain. To paint. Makes light out of them.

in the meantime , lighthouse , old lighthouse , far away , beyond the ponds , coolpix , little coolpix , long before the perfect clone .