EYES / EYES / EYES / EYES
As we all know, one of the traits of a statuary is the transmission and the inscription in a future we think of as being unlimited, as unusable as stone. Reality shows that the vagaries of History often decide otherwise. It is indeed stone, sculpted mineral becoming image; it is destruction, conservation and its paradoxes, and iconoclasm that we are dealing with here. That’s why Albert García-Alzórriz’s film moves forth in successive loops, suggesting multiple overlapping. In the opening, at the image’s centre, in front of the camera, a convex mirror like an eye is disposed on a concrete wall, encompassing image where the camera appears at the centre. It is therefore a question of images relating to themselves. Then Prometheus’s myth, punished, nailed on its rock, is called upon in Kafka’s revisited version. A concise apology whose takes sink the film deep into a spiral while two young archivists are working, their bodies almost motionless under the fan’s breeze, their hands kept busy by enigmatic conservation tasks in a warehouse whose shelves are filled with the brightness of statues, understandably unbolted. Images of people in power (an impressive twentieth-century gallery) devoted to eternity are here, undone: their kept fragments are associated to photographs showing those who turned them over, their trophy at their feet. Thus, from the image of stone to stones making images, relations to the body and time, from the statuary’s allegedly imperishable quality to photography’s immediacy, are also re-distributed. Vanities heckled under the camera’s implacable gaze offering plans finely cut by the scalpel, placed in the strictest possible order. While « statues are still dreaming » and a vindictive land unsettles these places and their recurring earthquakes. A film where the rock’s insistent presence still hovers, deemed « inexplicable » according to Kafka’s indications, just before a finale all in malice. (N.F.)
Original version : English, French.
Subtitles : English, French.
Script : Albert García-Alzórriz, Gabriel Ventura.
Photography : Marc Cuscó.
Editing: Albert García-Alzórriz.
Sound: Raúl López, Nora Haddad.
Casting: Xisi Sofia Ye Chen, Rosa Tharrats.
Production : Institut Ramon Llull, Albert García-Alzórriz.
Distribution : Albert García-Alzórriz.
- Behind the eucalyptus trees, 2018.
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 +
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 +
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 +