Screening of short films by six student artists or graduates of the School: Théo Audoire and Lova Karlson, Emma Boudon, Julie Coulon, Isabella Hin, Valentin Pinet.
Théo Audoire and Lova Karlson - Ovan Gruvan (13'34)
The iron mine in Kiruna, Sweden, one of the largest in the world, is eating away at the city's subsoil. Threatened by landslides, some of the city's imposing houses have to be moved in one piece, in a slow and majestic ballet captured by the camera of Théo Audoire and Lova Karlsson, film-makers-architects of an urban landscape in perpetual movement. With the support of Gide.
Emma Boudon - Rage They Deserve (6'06)
This film is halfway between contemporary dance piece and experimental film. In this second collaboration with dancer Hava Hudry, Emma Boudon wanted to question the place of the female body in the public space, and in this case the night and party space, which can be very ambivalent (both a brave queer space, but also a dangerous place, and particularly for women or people perceived as women). The dancer's relationship with the floor is paramount; she shocks, rears up, arches her back, breaks her movements, crawls. It is both a liberating trance and a primary expression of internalized violence that eventually explodes. Hava's interpretation refers the spectator to his own relationship with his body, and to the judgement he may have made on the bodies of others, particularly those of sexed people (women or those perceived as women). The projection is accompanied by a perfume whose saline and metallic notes recall body odours that are as attractive as they are repulsive.
Julie Coulon - Kissing in a Cabriolet (9'27)
In a burst of love, two figures offer themselves to the public, hidden under the golden and changing shadows of an infinite tunnel. Nestled in the reflection of a rear-view mirror, their faces become one and the duality is transformed, before our eyes, into a merged entity. Presented as a game of mirrors where the shots alternate and respond to each other in a face-to-face encounter, the kiss appears to us as the very motif of the double. Julie Coulon, in her piece Kissing in a Cabriolet, explores this thin and dense space from which tension is born: the heavy floating of the confrontation before it breaks out. The incessant alternation of light and shadow evokes an urgency, a danger, the flight on an endless road. Time stretches ad nauseam and immobilises us for the duration of a kiss that goes on forever. This fictitious time of subjectivity plays with our collective representations and questions what would be "the kiss of cinema". A Hitchcockian blonde drowned in the arms of a young actor with plated hair, a red convertible driving through the night, a chiaroscuro of a film set - the counter-field of which can be seen in the reflection of the windscreen.
Isabella Hin - Fight or Flight (10')
Fight or Flight is an experimental, sensory, emotional film. It is similar to a tableau vivant - animated, aesthetic -, seeking to provoke a sensation of immersion, of submersion, retracing the unusual and unconscious memories, liquid, of two figures performing breaststroke movements in the air. Passing from suspension to immersion and vice versa. The film is inspired by the demanding principles of Paul Beulque's method of learning to swim, invented in 1913 in Tourcoing. The apprentice swimmers are supported by a belt/swing and immersed in a watery environment, where they repeatedly perform the swimming movements learned in the dry. This support allows the swimmer to survive in this new environment. Suggesting a back and forth between breathing and drowning/asphyxiation, the film draws attention to the human's inability to breathe underwater, as well as his desire for emancipation through swimming and flying. The emphasis is on division and duality.
Valentin Pinet - Building a fire (6'30)
Young people try to adapt Jack London's short story Building a Fire. In their own way and with their own gestures, they take us to where it is -50°C to build a fire.
The screenings will be followed by a moment of exchange with the artists.
Penser le Présent is supported by Société Générale.
Amphithéâtre des Loges - 14 rue Bonaparte, Paris 6e
Free admission subject to availability of seats
