Images from the bridge over Canal Saint-Martin in Paris. The inland waterway vessels Rose and Pluie de roses pass each other. Changes pile up and the camera unravels them, through shooting, for a mise en abyme of the fall.
Film made by passing - passing through - passing through - passing from an erotic desire to a filmic desire. The eye slipping from one object of desire to another. Some pass, others enjoy. Ejaculation film during the transition from winter to spring. Suites d'enfilades, suites d'enculades. Suites...
Sarah B. relives her awkward film debut. On a pedestal table, a headline, on the front page of France-Soir, challenges her, she immediately transcends it, then resumes "Phèdre" one last time under the astonished gaze of the kids of Belleville before spending one last summer in Belle-Île.
Film based on a phrase by Teo Hernández: "Each new film is for me a step into the void, into darkness, into mystery." Film-poem about the possibility of making an entire film about a face of the moon, a face of tears; Mother of souls, mother of our souls, the moon illuminates our cinematic nights...
Kitsch style portrait. Family movie. Improvised on a spring day, with the exceptional participation of Raphaële and Suzy Tromelin and the involuntary participation of Fernandel.
Self-observation of the sleeper in an elliptical time ordered according to the rhythm of the shots. Revelation of a gesture that cinema does not usually take into account.
Will the homosexual find his alter-ego? Who's on the phone? While the hair is cut, the faces parade, which one is the good one? So many questions-pretexts for a visual and sound delirium.
The episode of Gérard Courant's Carnets filmés, Crime contre le cinéma (December 25, 2006 to December 2, 2006) is divided into four parts: Colas Ricard at Centre Pompidou, Joseph Morder at La Rochelle, the Filmer à tout prix Festival in Brussels, and Michel Nedjar and Jakobois at Centre...
