Gyres are gigantic ocean currents that carry all kinds of objects across oceans. When they leave the vortex of the gyre, some of these items eventually wash up on the shore, where “beachcombers” pick them up and strive to trace back their itineraries. Gyres 1-3 invents a filmic movement that circulates images and ideas as they pass through the director’s mind, like objects drifting on the surface of the Pacific Ocean or the Mediterranean Sea. Better still, Ellie Ga’s successful gamble is that of a filmic form which coordinates and links together the movement of ocean currents and the endeavour of beachcombers. It starts with the creation of a device that carries out on screen this oceanic, scavenging image of thought. The two white rectangles of a light table stand out against the darkness of the frame; a hand selects transparent photographs in the bottom rectangle, among a messy pile of others waiting to be picked up, and then lays them out on the top rectangle. Off-screen, a voice unravels a story that sheds light on the connections between them, and restores the full power of the remains of experiences past as full-fledged images. The hands and the voice belong to the director, alone on board, a peerless seafarer mapping out paths of light through the present storm. From a west-coast beach to an island in the Aegean Sea, from the death of her mother to that of Bruce Chatwin, from bottled prayers drifting towards Symi island to life jackets washed-up on the beaches of Lesbos, Ellie Ga’s mind follows its own map, both private and global, of disasters and hopes. As a disciple of Walter Benjamin, she knows that mourning is the tone of thought, but that the process of thought converts the pain of loss into the joy of encounters and exchanges. Like so many bottles tossed at sea, intimate relics or anonymous remnants, all kinds of fallen images and things are waiting to be gathered up by an open hand, held up by an adventurous mind. Editing as a form of thought: the idea is as old as modernity itself, but Gyres 1-3 is among the very few films of genius that manage to restore its bygone splendour, its power to illuminate the chaos of the world and the turmoil of existence. (C.N.)
Original version : English.
Script : Ellie Ga.
Photography : Ellie Ga.
Editing : Ellie Ga.
Sound : Mario Adamson.
Casting : Ellie Ga.
Production : Ellie Ga and The Whitney Museum of American Art, New York.
Distribution : Ellie Ga.
- Strophe, A Turning, 2017.
Minia Biabiany’s work (films, installations, sculptures) is informed by her experience as a Guadeloupean woman, she is unapologetic about her work being inseparable from her homeland. Here, water...En savoir +
In Kyiv, the war still seems inconceivable, but the pandemic forces a mother and her daughter to spend the lockdown in their shared apartment. The mother is a piano teacher who keeps giving lessons...En savoir +
Danielle Arbid works at the heart of feelings, from one film to the next, the most recent Simple Passion (2021) based on Annie Ernaux embodies the quintessence of this. Less well-known is a more...En savoir +
"Obsada" means "film crew" in Polish, but can also mean "task force". The crew here is dual purpose. First the film crew, in front of and behind the camera, who are all women – art and film...En savoir +
Divided into three chapters, A General Disappointment is an existential meditation based on a text read through a series of long still frames. These stage the director Serge Garcia in everyday...En savoir +
Liv Schulman enjoys working with figures who become alter egos of sorts. After the investigator in her metaphysical detective series Control, she introduces us to a new avatar. The point here is to...En savoir +
Continuing his research into European canon, its concepts, history and grey areas, (Daphne and Thomas, FID 2019), Assaf Gruber is our tour guide. Rude Witness – after Transient Witness- takes us in...En savoir +
La vie des hommes infâmes (The Life of Infamous Men) was the project for a book that never saw the light of day but for which Michel Foucault wrote a preface. He wanted to collect the written...En savoir +
Hushed voices announce a girl’s death. Kneeling around the corpse, the teenage girls stare at her. Again, they whisper, chanting in unison “light as a feather, stiff as a board”, a magic...En savoir +
In Spilliaert, we joyfully rediscover a taste for the interwoven mix of genres that captivated us in N.P (FID 2020). Lisa Spilliaert uses the pretext of an investigation into her potentially shared...En savoir +