Diplopia “is a functional vision disorder that results in the perception of two
images for a single object” (Clément Chéroux). Antonin Peretjatko literally
brings this double vision to the screen. He uses it to tackle one of the issues
approached in Yellow Saturday – the perception of the so-called Yellow Vests
protest movement, a lengthy political episode that has fuelled the media in their
field-based battle to portray the demonstrators. Streets were already featured in
the fiery La Fille du 14 juillet. Here, streets are the melting pot of a mocking and
spirited political squib, that doubles as a tribute to Chris Marker’s A Grin Without
a Cat (Le Fond de l’air est rouge). Were it not for a few clues about our time (the
yellow vests and the uniforms of the police force), Yellow Saturday could have
been shot in the 1970s. Audaciously, the film intertwines the account of the
demonstrations and their repression with a serpentine and playful storyline about
the fleeting romances of the protagonist, Pierre Bolex (a witty name indeed).
Nymphets in hot pants, James Bond Girls on Paris rooftops: the anachronistic
male gaze is too conspicuous to be genuine. Behind the women who look like
characters in films from the 1970’s, who are mute, reduced to their gender and
excluded from the writing of insurrectional history, the film endeavours to question
the argument from authority that determines the legitimacy of demonstrators and
prevents those who are deemed unworthy of political commitment from speaking.
Yellow Saturday weaves together two seemingly unrelated timelines: the Yellow
Vests and the suspended time of successive lockdowns, to better incorporate
them into a political continuity. Then, the schizophrenic and amnesiac, overacted
and farcical carefreeness meets the practice of a filmmaker who has filmed these
Saturday meetings himself with a 35mm camera, these meetings which are more
dangerous and feverish than any lovers’ reunion, not really for aesthetic purposes,
but rather to tell us fervently: “I was there”. (Claire Lasolle)
Original Version : French.
Subtitles : English.
Script : Antonin Peretjatko.
Photography : Antonin Peretjatko.
Editing : Antonin Peretjatko.
Sound : Antonin Peretjatko.
Production : Isabelle Tillou (Apsara Films).
Filmography : La Pièce rapportée, 2020. Panique au Sénat, 2017. La Loi de la jungle, 2016. La Fille du 14 juillet, 2013.
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