Othello Vilgard, Xavier Baert and Lionel Soukaz filmed a performance by Tom from Beijing: one strips himself naked while the others veil and reveal the film.
A high angle shot of light, colours and rhythms in the darkness of a rave party. Freedom of Super 8 (main material of most of my films at this time), slow motion intensity (Hong-Kong cinema convinced me about the profoundness), a flash of a male body outline (colour metamorphosis on the outline of...
Two men making love. The question of the embrace (which encompasses the caress, the look, the kiss, the penetration, the speed of movement, the expression of ecstasy…) give to the film a scenario of examples of editing (disconnection, links, rhythm, interlaced films, alternate editing…). A...
This birth of the human silhouette metonymically takes us back to the origins of cinema, to Marey or Muybridge’s pre-cinema. Baért with his model wanted to re-find the dancer Loie Fuller’s aerial movements such as one can see in Fire Dance (1901). This research for origins continues with the...
If it is films which reveal ‘the choreographic fatality of cinematographic intervention’(Dominique Paini) this one henceforth very much belongs-dance gestures, in slow motion, distorted, halted, impregnate the film procession in a commentary-magnificent-by its own unfolding (back and forth). In...
Xavier Baert works on the visual outline of the body. He creates cinematographic body states which according to the French filmmaker, only cinema can invent. Ghost plays on projection and light phenomenon, on the double exposure of a body on another. The narration which is essential through a slow...
