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Marie Alberto Jeanjacques

Marie Alberto Jeanjacques
Freely adapted from a Virginia Woolf text, Marie Alberto Jeanjacques takes a leaf out of her book to declare, “there is a great uprising of the material.” Moreover, such great agitation, described almost relentlessly and even audibly in the sound work like a busy, incessant rumour (from the voice of a female surgeon operating,
equally to that of Londsdale), of a well-kept secret. A secret disseminated in the sets, both inside and out; a secret sheltered both by the suave diction and the gestures of the actress Laure Lucile Simon. All in order to maintain the power of enchantment at its peak, in colours of a time yet to be born.
(Jean-Pierre Rehm)

Interview with Marie Alberto Jeanjacques

Les yeux remplis de nuit is a loose adaptation of Virginia Woolf’s novella The Mark on the
Wall. How did this film originate and where does this new title comes from ?

Nothing more than the encounter with this short story, which resonated for many years. Fixing a
form and shifting into a state of reverie is a common experience that everyone, in their own way,
has lived. It seems to me that this reverie, this time that is ours, is incredibly rich. What takes place
is fundamental if we attend to it a bit, and it then perhaps remains an escape route available to
everyone to extract ourselves from reality. I attempted to make a film that would have that shape.
Les yeux remplis de nuit is a verse by Góngora.

On the soundtrack, Woolf’s text is interpreted by the actress Laure-Lucile Simon – en off,
en direct, ou enregistré – alternating with a surgeon’s voice describing the actions of a
surgical operation. How did you conceive of this parallel between two voices, two
narratives ?

I created a narrative space around the operation that doesn’t exist in the short story, in order to
create an opening towards a state of latency, to get as close as possible to the fabrication of
images by our gaze.

You shot in 16 mm, in the 4:3 format, and all movements are almost exclusively side-ways
travelling shots. Why this set-up ?

The travelling shots are a continuation of the act of writing, cut short by forms of breaking forth.
The slow forward-moving travelling shots on fragments of objects offer a dilation of time granted to
observation, and I hope even lead us to hear their silent voices. 4:3 seemed to me a pictural
choice close to the framing of a painting.

At one point, we hear Michael Lonsdale’s voice, speaking of painting. Why include this
extract ?

Maybe because for me, painting is the place of greatest consolation. Some voices also produce
this effect on me, notably Michael Lonsdale’s voice.

At the end of the film, a transition takes places, from colour to white, from artificial lighting
to natural light, from film setting to the urban setting. Could you comment on this
transition ?

This movement is an unveiling, opening up your eyelids.

Interview by Louise Martin Papasian

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Technical sheet

France / 2021 / 30’

Original Version : French.
Script : Marie Alberto Jeanjacques.
Photography : Aurélien Py.
Editing : Cédric Putaggio.
Music : Nicolas Gerber.
Sound : Nicolas Gerber.
Casting : Laure Lucile Simon, Isabelle Mouchard.
Production : Marie Alberto Jeanjacques (Marie Alberto Jeanjacques), Nicolas Gerber (Objet Direct).
Filmography : Dezir, L’Eperdu, 2017. S’il en reste une, c’est la foudre, 2016. Incanta, 2010. Gimmick, 2007. Fabula, 2006. Ronda, 2005. Suerte, 2002.