Del LaGrace Volcano and his/her friend transgenre, Hans Scheirl, trott themselves in a gay place of dredger. Their meeting with the passers by of the place escapes from the stereotypes and awaited normalcy.
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“Crimped by the melancholy and the corrosive liveliness of the text of Gerard Gilles, vibrating militant figure of the antipsychiatry during the Seventies, the wind blows where he wants, as its beautiful title reveals it to us, is filled up puffs of revolutionary poetry of after 68 and the 1st walk of homosexual pride in May 1971, year of the appearance of the FHAR (homosexual Face of revolutionary Action). Luminous farandoles and insolence of the slogans, sexual release and insurrection of the desires, the very beautiful one and too ignored film of Roger Danel, is also a load against the repressive systems. ” KQ&AI
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Poetic object, which holds at the same time of a reflexion on the cinema, like spaces desire and recognition of oneself, on the origins, the identity, the repetition of the diagrams in love, Transgressions, thinks the multiculturalism, the meeting of the “races”, as lines, the meeting of the sexes, and the possibility of creation of new sexual and racial species “queer”.
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The idea of this film, designed as of March 1967, largely anticipated the events of May-June 1968, since it had as a subject the revolt of youth, in particular coed. One can say that it was been used for point by the events, or rather than those allowed film to be born, with demonstrators who were not observers…
In 1967, the narrator (Gerard Jeanpierre) militated in a group “Seeks libertarian”, in which Daniel Cohn-Bendit took part besides and who published a small newspaper of the same name. Of course, the explosion of the revolt coed was not without incidence on the contents even film, which it contributed to nourish and direct. The author was itself in the middle of the action, while remaining a peaceful witness filming the events. Not without difficulties, with a camera 16 mm amateur, of which it was necessary to reassemble with the hand the spring engine. It happened for example that one of the friends of the realizer hides in a dustbin 'to be able to film but, at the time of a load of CRS, the presser of the camera opened, which resulted in a “spinning”. These scrambled images were however kept in the assembly, because they bring a somewhat hallucinatory effect.
Beyond the event-driven one, one notes that the reflexion of the narrator (Gerard Jeanpierre) rises remarkably above the topicality and analyzes in terms of unconscious collective the “concrete neurosis” which then started to seize our cities. Let us greet this premonitory vision which one did not finish, alas, to observe the accuracy.
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“The infirmity of the illusions
The continual alienation of unforeseen aggressions
the impunity of a strong anonymous crowd of a cohesion of cowardice
Impotence vis-a-vis the irremediable one.
To control its revolts fulgurating
With each one its silly thing, quite personal, limited well. ” (extracted)
“I carried out a film in which I howled my revolts of woman, of aculeate actress to the madness not to want to play the game of the bestiality of the company” Michka Gorki, Paroles… they turn! , 1976
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Drawing its title from ready-made of Marcel Duchamp, In Advance off Broken ARM has was created like a homage to the experimental scenario writers pioneers of surrealism.
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“Little body continues what many spirits begin”
In DNA, Judith Cahen a portrait around the body of the Spanish photographer autoportraitist David Nebreda composes, who in a work of performer - prone living of its photographs, an asceticism practises which leads it to the drying and a diagram of its flesh. A subject become cells.
Judith Cahen meets never artist but rather its work photographic, when such detective, it leaves to question his friends (of which Vincent Dieutre, Jeanne Labrune, Matthieu Lindon, Jean-Henri Roger, Philippe Sollers, Alberto Sorbelli, etc), asking them which effect their product the body of the photographer, which place they would be ready to grant to him, in their life, their imaginary, their apartment. Is it possible to reach this strange other which would be the artist David Nebreda, is he possible to help it, is he possible to like it?
The film puts in scene the impact of this meeting on the cinema of Judith Cahen and her own step of car-representation. “I was in search of the hard core of my identity, and that of my cinema, out of mirror of his, extreme and radical (...) I had the need to ask the others to be the “insane guards”, those which prevent me from running, to be attracted by the madness, by the song of the sirens.” J. Cahen
Text: AI&KQ
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Empty parts in empty parts, a body tries to constitute and fill up space with the liking of the accumulation and the accumulation of its members, while a flutter growing disturbs the flow of the image. Video-poem, “the body, the walls”, is a variation on vacuity and impermanency, questioning at the same time the continuity of the body and that of the image.
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