After the babbling of a flock of children in Loubia Hamra (FID2013), after the multilingualism (including a reversed language) of the various troops which appear restless in Le Fort des Fous (FIDLab 2014), all of a sudden Narimane Mari confronts us with early silent cinema. Almost silent actually as the sole male protagonist is moved at the end of his own monotonous chant, a donkey allows himself to bray, and an original score is cheerfully knitted together with the sequences. Nevertheless, and as the title unequivocally points in the direction of the golden age, with the few characters (two women, one man), the great sobriety of their acting, the even greater sobriety of the story, we are clearly immersed in a cinema that claims to be that of the origins, of a time when faces and movements summoned up all possible understanding, and all emotions. “A man digs his own grave and, and as though to keep him from it, the elements and beings quiver.” Such is the – ever so sober – synopsis provided by Narimane Mari. We can assess that the point is to record on the very screen no less than the entirety of lifespans: from the deadly outcome to the movements of birth, the former intertwined with the latter and, it would be no spoiler to say, the whole obviously tied by desire or love. With simple magic, and obvious faith in the power of a cinema without resources: like in Giotto’s work, we are all saved, including viewers. (J.P.R.)
Original version : no dialogue. Script : Narimane Mari. Photography : Narimane Mari, Antonin Boischot. Editing : Narimane Mari, Djamel Kerkar, Corentin Doucet. Son : Antoine Morin, Boualem Hammouche, Florent Fournier-Sicre. Casting : Michel Haas, Bilio Kaliakatsou, Julia Hilmer, Saadi Ikhelfoum.
Production : CENTRALE ELECTRIQUE et ALLERS RETOURS FILMS (Narimane Mari, Olivier Boischot). Distribution : Narimane Mari.
Filmography : Le fort des fous, 2018. Loubia Hamra, 2013. Prologue, 2007.
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...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...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 +