LES MUESWATER LILY SPLIT
Who and what is stirring in Water Lily Split? Children. And their mother. The lapping waves, the sound of crickets, the fire and the bottom of a swimming pool-turned-pond, and a giant shell which brings back memories. In just a few shots, Grégoire Perrier sketches a delicate path leading to Basile and Hortense,
brother and sister in their early years, on the brink of language, its emergence, and its invention. He registers the epiphenomena that punctuate their daily lives and offers us vignettes of a childhood that radiates before our eyes, in all its anger, its games, its demands. We are plunged into their intimacy as observers, confronted with the mysterious fascination of the little theatre of childhood. In this film, ‘childhood’ is the name of a garden which their mother cares for. Mute and solitary, she prunes, saws, lays stones, building the garden as much as she welcomes–not without a certain fatigue–the tears, the “pain and punches of love and anger”, the irruptions of tenderness. Emotions grow perennially and are tended to with care. Indeed, Water Lily Split posits devotion and attention as the only ingredients necessary for children to blossom like plants. Far from being moralistic or edifying, Grégoire Perrier writes an ode. Water Lily Split unfolds as a gesture of admiration for the obstinate patience that presides over the construction of this verdant microcosm. Composed of fragments and jolts, water games and botanical apparitions, Water Lily Split invents a flow in this closed and protected space, the refuge of a memory. Grégoire Perrier does not allow himself to approach the story of childhood as a continuity and instead works towards a faithfulness to resurgence, to the memory that arises from sensations. Putting his finger on the ineffable link that gives form to their coexistence as much as on the miracle of this vital force, Water Lily Split, his first film, takes us in the footsteps of Monique Wittig and Nathalie Sarraute, bathed in light and sheltered from words.
Original Version : French.
Subtitles : English.
Script : Grégoire Perrier.
Photography : Grégoire Perrier.
Editing : Emmanuelle Gachet.
Music : Gloria Jacobsen.
Sound : Rym Debbarh, Xavier Thieulin.
Casting : Maxime Huriguen.
Production : Sébastien Téot (Cellulo Prod).
Filmography : To the jungle, 2015. Louve, 2014.
Juliette Dominati A woman in her forties, a young adult, a little girl: Lola, at three different stages of her life. The eldest tells the others her memories as they act them out. On the set,...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 +
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 +
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 +
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 +
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 +
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 +
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 +