Sophie Roger

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Following the steps of an English botanist, in the landscapes of the Normandy coast, people and cameras look at flowers. This is an essay on attention and friendship, a cinematic herbarium.

Through her window, Sophie films her neighbours tending a community vegetable garden as seasons pass by. At the same time, she reads passages from Tristes tropiques and regularly abandons her observation post to enter the frame, meet her neighbours, ask them to pose for filmed portraits.

From her window, Sophie Roger looks at the landscape of her film Les Jardiniers du Petit Paris. She is addressing Pierre Creton and questioning their common territory. Between her cat and the tree in the distance, she humorously depicts a friendship at work.

A love journey along a side path. From her cabin to the ‘garden of little brambles’, the director engages in dialogue with the beings she encounters. Women, animals, flowers, trees, and books joyfully coexist in this quest.

Filmmaker Pierre Creton, one of the FIDmarseille festival's most loyal supporters, offers us 6 ads, a teaser imagined in the form of a micro-series, especially for FID. Drawing on this mysterious and bewitching work, designer Manon Bruet has imagined a new visual identity that also celebrates the moving image, developed on a daily basis with the invaluable assistance of Manon Forax.

The island in question will be imaginary, following on from that envisaged by Gilles Deleuze in his eponymous text, as a utopia and a space for possible beginnings. It will also have its Friday and be inspired by Joyce’s Ulysses. We will pick flowers there, dig the earth and dream. An island to be lived on, a garden to be cultivated. A garden of Eden as the setting.

“Sophie was doing a series of portraits of friends reading. I suggested to her, along with our common friend Sophie Marie Le Pallec, that we make an adaptation of Mercier and Camier set in the coach on the Fécamp/Le Havre line that passed in front of the houses where we lived.”

A short film by Sophie Roger

In each of her films (including many of those that have been shared here at FIDMarseille, over the years), it seems as though Sophie Roger has given herself a rule that is unsettling for anyone else: nothing guarantees that the secrets hidden in each work are revealed to the author, let alone anyone else, in a definite way at least. In addition, perhaps this time more than usual, we are confronted with a riddle – in two chapters.