Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.”
A brief tribute to those that have haunted a moment of film history, stars of yesterday: Garbo, Del Rio, Crawford, Marlene Dietrich, Lupe Velez, Sylvia Sydney, Louise Rainer, etc.
With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language. From this point of view, he joins the approaches of other contemporary...
The film Graal goes (as well as all the films which precede it) toward an open and avowed paganism, in which pagan force and magic imbue all the subjects at all times. (...) This is not about "the" Holy Grail and its legend but about the concept of the Grail, taken in a larger sense as a universal...
Filmed in 1988 on the occasion of the parties at the house of Marie-Noëlle Delorme. Shot with camera in hand to small bursts of frames and almost image by image, but then slowed down.
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
