Derrière nos yeux
“What you see you shall become”. Used as an epigraph to the film, this quote from the gnostic Gospel of Philip invites us to enter a cyclic and extrasensory universe. Derrière nos yeux introduces in turn the portraits of three solitary individuals living non-conformist lives, from adulthood to teenage years and finally to a childlike state. The first character, a homeless performer wandering the streets of Paris, filmed as a village, was already the subject of Anton Bialas’ previous short film, En son royaume. Just like Aliasare, a dreamy and solitary painter who is busy trying to find brief glimpses of beauty (to quote the famous title of Mekas’ film, whose work is akin to the materiality shown in this present film) in the world around us. In the last part of the film, a young blind man appears in a game of superimpositions over the forest where he lives. Nature, perceived as a magic power, prevails in every episode: so much more than a simple setting, it is a way for the three characters to escape loneliness, in a pantheistic approach. The recurring close-ups on hands performing trivial tasks point to an “haptic” form of cinema, in which sight is guided by touch, and camera stays as close as possible to bodies and textures – wrinkles on the skin, brush strokes on a canvas, or the bark of a tree. Anton Bialas makes films that remember what lies behind the eyes of the viewers: the thickness of the people and things that he films, as well as the history of cinema, as a practice of the sensitive rather than the sensible. (J.M.)
Original version : French.
Subtitles : English.
Scenario : Anton Bialas.
Picture : Anton Bialas, Julia Mingo.
Editing : Vincent Tricon, Anton Bialas.
Sound : Simon Farkas, Matthieu Choux, Anton Bialas.
With : Patrick Dumont, Aliasare Buodoshant, Hadrien Mossaz.
Production : Apaches films (Marthe Lamy), Remembers (Felix de Givry).
Distribution : Apaches films (Marthe Lamy).
Muriel Montini, whose beautiful Adieu Mon Général was shown here in competition (FID2009), is used to literary adaptations (King Lear, a while ago), which she tackles in her own, lively...En savoir +
Remember the final scene of Go Toto! (FID 2017)? Madelene disappears, setting o to join the boar piglet she rescued and raised in her house in Vattetot. She makes a surreptitious...En savoir +
Almost all of public space is under surveillance: this is now a firmly established commonplace. The eyes of technique are constantly and undiscriminately recording landscapes and unfolding action....En savoir +
Wrapped up warm in gorgeous medieval-like capes, two young women are walking. Setting o on their pilgrimage for a very humble destination, they travel along narrow country roads, and converse while...En savoir +
“Catarina is a quantum physics researcher. She studies the sound spaces hidden in the variations of light. By immersing herself in the images she distorts, Catarina discovers a new form of sound...En savoir +
Either written by John or painted by Giotto, the scene is famous. Two hands come close to Jesus’ body, but his voice stops Mary Magdalene’s gesture: “Don’t touch me”. Which means,...En savoir +
“It takes place in a corner, away from prying eyes, where dust ends up, in a corner of my o ce, on my lifeline, my sca old. Here the actors and props of my film give a performance: a...En savoir +
It all starts like a fantasy tale: in a small boat floating along a tropical river, an old man is talking about a world that is in the grip of multinational corporations for good, and...En savoir +
Two film directors and a writer are in Portugal for an expedition through various images, moments from the history of Western allegorical representation. The writer is Jean-Louis Schefer,...En savoir +
“Between documentary and fiction, the crude and the coded, contingency and devices, in short, between the raw and the cooked, there has always been a short-circuit, a striking short cut,...En savoir +