Martine Rousset

The voices say a story. forget it. Of what time. And who speaks. Both of them. One or the other. later. Others may be. Of chance. Which would cross in this narrative. When. The times have intermingled. The winds meet. History. Pictures. The summer. Humble vacancy with furtive foliage. Fragile memory. Light is a trace of forgetfulness.

A cinematic metaphor, conceived as part of a compilation of films on AIDS, this is an emotional translation of the disease. The juxtaposition of music and images creates conflicts involving elements that, taken separately, would appear insignificant. Produced within the framework of SI FILM DA. (LightCone)

This is what the city offers the passing foreigner: gold and night to the visitor who has barely arrived. Fragments, the stone found by the wayside, raw. We pick it up and keep it. Can we read into the gleaming lights passing by? What is written? Whole images, raw images, far from art and style.

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.

Sha-Dada is an "expanded" film on two screens which presents itself as a confrontation between two imperialisms.

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.

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

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.

Initial situation: models were invited to participate in their portrait by the contribution of personal objects and a great freedom of expression before the camera. This initial situation was conceived by Catherine Rebois. Graffon: I propose to film in a fragmented way these sessions of pose. Participants agree to be filmed at the same time they are photographed. Deliberately sharpened shift between an initial situation in its own duration and its filmic recording. The sequence of photographic shooting sessions is shattered.

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.

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.

Portrait. She dances in the center of her area. Obscure to the look. She abandons us to her limit. Turn. Count the chips. Conjugate. Turn on yourself, in a blind echo. Cross the already deserted space.

"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.

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

Wandering through Central Asia, the Caucasus, Kurdistan… to Istanbul. Cities and trains, steppes and snow, down there where the pulse of time evaporates; a very simple film, a navigation, attention letting yourself be taken to the threshold of time going, by hazardous paths... and very slow skies, up to the black sea, where Istanbul is absent, hides under the steps, leaves the place empty, abandons in its wake times undecided.

Originally a text in fragments, more or less biographical, of different characters. Crossed stories, mixed times, memories and inventions. Coming from the voices encountered. They look like text like sisters. They are the voices of memory, the shadows cast by the characters, the voices of girls, the voices of indecision and evocation. We begin with this work: to read, to record (in analog, it takes breath). Here comes a place, a place found: the foliage of a vine in the South, crossed by the wind Mistral: a landscape. Where are we? Where the boy dies, would we see what he sees? Where was the child playing in the neighborhood? At the heart of the narrative, at the heart of the written word? That would happen. Harvesting images, shifting gears, Multiplying the generations with the listening of the voices, even in memory sometimes.

The last part of the Carolyn Carlson cycle. Last look. Oversight. Irreversible erasure. The song is immersed. Blinded.

The unfinished Julien Gracq text, the road 1970, a forest near the sea, the enigma of a trajectory, by this text in this lanscape and this landscape in this text, it's diging, since a double echo to a same root, deep, invisible, an absolute presence, a stones fire, then, text and landscape are foliage of the same language.

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.

Winter, fog, outside. The outline of eyes, sometimes we could ride those trails.