Directing
Performance requiring 1 or 2 projectors 16mm, 2 projectors super 8, a room without armchairs with white walls, a solid table or an Estrada for one or a dancer covered with mirrors, and an audio CD reader.
A mind-blowing film which borders on the structural but which manages to avoid being so. A study of colour, stasis, and different modes of multiple-exposure. The film slides from a doctored reality towards fantasy. A large part of the film takes place in one single image that continually changes aspect: the buildings on the square, Place d'Italie, seen from my window from when I used to live in that district in Paris on the eighth floor of a kind of council housing block.
No description available.
The railway advertisement To Have A Good Trip Let’s Take The Train, had given me the idea of a speedy violent film with plenty of information, the intensity and speed of which cannot be perceived complacently by the spectator. All this gives an aggression to the film not unlike the actual transport system… the train was a pretext and I started to shoot as though I were using a gun-machine, trains and pseudo amusements becoming all mixed up.
A film to prove something, not for art. The strange and erotic atmosphere of this film is accentuated by a process of re-filming sequences that 'gives grain' and tarnishes the colors worn on the bodies of young men caressing each other. Shadows and light zones move to the rhythm of the pleasure given.
