DAS HERZ DURCH WÜSTENEYEN RENNT – ARBEITSTITEL
THE HEART THROUGH DESERTS RUNS – WORKING TITLE
“On peut vivre sans richesse, Presque sans le sou. Des seigneurs et des
princesses, Y’en a plus beaucoup. Mais vivre sans tendresse, On ne le pourrait
pas. Non, non, non, non. On ne le pourrait pas” (You can live without wealth, live
without a penny, Lords and ladies, there aren’t very many. But to live without
tenderness, it just can’t be done. No, no, no, no, it just can’t be done). Garegin
Vanisian’s film opens with Marie Laforêt’s well-known song La Tendresse. Love…
love wounded by the breakup experienced by the film’s character. How do you
express the gaping void left when a loved one has gone? It’s through a second
loss that the director dramatises the romantic breakup: the departure of the
actress who refuses the role and forces the film to reinvent itself. Instead of the
sequences, described in a voiceover, the gaps in the story are filled with images
devoid of the character’s body, or using pictures from the storyboard, amazing
miniatures in watercolour. By interweaving this into the filming, and displaying
the artifice – the mock-up of the backdrop, the dolly track, even the actress’s
audition – the director explores the drama’s structures and breaks away from the
melancholy register of his film. Like the beautiful Jasko Fide’s tattoos, Garegin
Vanisian skilfully sketches a stippled film – without masking his inspiration,
from the posture borrowed from Marina Abramovic in Nightsea Crossing to the
“Chantal Ackerman sequence”, from Goethe quotations to the one from Guy
Gilles, “I used to think life was a poem”. All the beauty and sadness of living seem
to be contained in this phrase. But although it resembles a film about romantic
– and artistic – disappointment, The Heart Through Deserts Runs – Working Title
impressively comes back to life as the film develops, like the woman who appears
at the end, triumphant and resilient in the long grass. To the repeated absences of
the narrative, Vanisian responds with presences that are constantly updated and
permanently in progress. (Louise Martin-Papasian)
Original Version : allemand.
Subtitles : English.
Script : Garegin Vanisian.
Photography : Hanife Koch.
Editing : Maja Tennstedt.
Music : Thorsten Hoppe.
Sound : Thorsten Hoppe.
Set design : Johanna Meyer
Casting : Jasko Fide, Pierre Emö.
Production : Garegin Vanisian.
Filmography : Erbarmen mit den Liebenden (Pity for the Lovers), 2012. Fünfminutenfratzen (Five Minute Antics), 2012. Fernsicht (Distant View), 2009.
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HA UMA PROFETA NA OLAIAS, TENHAM CUIDADO !