“Dice the first minute, this miracle: a distressing atmosphere obtained by the simple conjunction of very short plans on ends of space, with briefs movements of camera and the music. No character still, but one expects worst.
I.e. with the vampire. The vampirism, Stephan Marti knows, is to it well the metaphor of the sexual desire.
It proves it in particular in a scene of an extreme sensuality, where projected Super-8 images cherish a body of naked beautiful young man, probable “victim” of Nosferatu. At this time, Berndt Deprez, of which the band its incorporates in the occasion splendours of Stravinsky or Mahler, fact silence. The silence of the pleasure.
With French Corpora Reflected (: “admirable bodies”), Marti are exceeded. It gives to these large body films the Seventies a continuation and a blooming. ”
Dominique Noguez

“… Mira Corpora is splendid… and in this film blows suffers it, blood and the absynthe… Film baroque if it is, this film is a body immense, in love, generous… It is a song, a canticle of death, the large one! Mythical continuity and Siamese slope of the life… Resurrection, assassination, disease and vitality, combat and fights for the extase. Calm powerful and sinks, agitated by the coagulated appearances of the light. Colors at the edge of the crime, emanation of the dancing lines of the rite…”
Orlan Roy
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Engraved with the assembly a such invaluable stone, this film is a genuine proclamation néo-baroque.
On a side, gleamings of the Seine, sculptures of the Bridge Alexandre III and majestic descents of staircases of a mysterious character; other side, in counterpoint, the glares of a mirror reveal a lascif interior space, invaded works of art, strange objects, tropical plants, heavy fabrics, in the center of which throne Esthète which contemplates photographs of naked masculines.
The crystalline voice of a against-tenor celebrating Bach comes to complete the feeling of pleasure which emerges from this film.
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“A true concerto for body and camera celebrates the worship of Eros, at the same time allegory of the fury of the homosexual desire, and vast gleaming of the male body, subject-object of all ambiguities. ”
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“One attends the preparations of a festival, left wedding of love entirely dedicated to the toilet and the fascination of the spectacle. The scenario writer, at the same time Peeping Tom and privileged spectator, places himself in the decoration to observe these body-objects, dazzling artifice. As for a parade, one stops a few seconds on a collar of dog, the luminous fabric of an ornament, or the glance absent from a face. Long magic familiarity, which multiplies the turnings and completely exploits the ambiguity of characters androgynes… This film, in a swirl of images and appearances, restores in eight closed, a ritual of full and coloured pleasures. ”
Elisabeth Ayala

“The control of Marti bursts in the City of the Last nine doors where this young scenario writer banishes the facilities and builds a rigorous work, coherent though variegated, rythmée like a concerto, with `piani' and `andante'. In fact, concerto for male, often made up or disguised bodies and camera super-8. Generally assembling its film in the camera at the time of turning, and playing of the lightness of its apparatus in kinds of caresses or coruscations filmic, Marti appears blow like one of the Masters of Super-8. ”
Dominique Noguez
Grand Prix of the International festival of the Young Cinema of Hyères
Price of International Criticism, section Different Cinema
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Portrait poem in homage to Michel Journiac.
In the middle of a framework baroque which carries the colors of the desires and of the shared phantasms (resulting from Corpstrass, scenario coécrit by Michel Journiac and Stephan Marti in 1980), spread the fragments of the history of a creator, his passions, its questionings and its engagements offered to a whole generation.
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The golden calf is designed like an opera, with crashing to pieces opening then introduction of the topics which are spread in structures much more complex until the final drama.
It is built around three mythical figures of Western civilization: the diva, Christ and devil. But not any diva, only, the single one, “the diva assoluta”, Maria Fixed. And not any Christ either - neither Christ king nor Christ light - but the suffering Body, crucifié, mutilated, popular icon abandoned on the tombs of the old cemeteries of villages.
However, “Satan leads the ball”. This key sentence of Faust de Gounod restructured in one dazzling sound design of Berndt Deprez, refers to the main character who seizes the identities of a couple, a pale and beautiful boy like a statue of Canova and a black boy with disconcerting virility, to deliver them to the frenzy of an orgy.
The final one is also an ode with the gay pride and more particularly with the pride of the gay community bor, its capacity to transcend exclusion, the pain or humiliation by energy, the disproportion and the direction of the festival.
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Extract from "Mira Corpora", this experimental and musical short film plunges us in the giddiness d' a feeling s' connecting with the dreams. A splendid young person couples, to turbid femininity, delivers himself to the indecipherable logic (expensive in Cocteau or Murnau) of ritual d' a " worrying étrangeté" - which remains to be deciphered…Be careful, this is an automatic translation...

Freely inspired of Satiricon de Pétrone, this banquet of metaphors and allegories, opened with the free interpretation of each one, is characterized by the unslung exploration of passions and the strength of the tensions which sommeillent in the middle of the human one.

“… With the same actor fetish, Aloual, this film is, indeed, the splendid echo of the philosopher's stones of the beginning, In contextus or the City of the nine doors. One finds the same technical choices there (super 8 color), with, moreover, of the pieces of black and white, the same power (power of the desire or, sometimes, despair), the same aesthetic figures (filming by small squirted, swirls, sudden changes), the same sumptuous make-up, the same performances of a readily oral erotism (coloured marsh mallows, liquids, spouting out and running, change readily the bodies into pastry makings apparently extremely delectable), worked soundtrack, interfering Eastern monotonous chants and noises sea beating the rocks, ZZ signal and the refrain “che piacer, che piacer che sarà! ” of the Don Giovanni of Mozart…”
“… Of Satiricon - or little which remains of this enormous work which was probably one of the first, if not the first of the large total novels of the Occident -, Stephan Marti keeps only the banquet given by the Trimalcion parvenu. All the beginning of film, these plans of ruins of a majestic temple gréco-Roman in the middle of grasses with an accompaniment of cicadas and Arab song, is like leading us, with wrong way of the history and the geography, until the mythical place of these reunions. Mythical, but one remains at the same time in the contemporary life, since one will recognize soon, in the decoration of the festivities, the objects of Michel Journiac or the photographs of actors of preceding films of the author…”
“… Isn't a cinema of the desire more than of the pleasure, a cinema magnificiently acidulous, metaphorical, that worth some ends of flesh and bone?
Metaphorical, the film is, indeed, by these plans, especially at the end, where the matter is done indirect. I do not speak here about some plans respectfully borrowed from Satiricon de Fellini and which stick so well with film that one would say that they were made for him and that it is the author of the Dolce vita which pays homage to its junior. Not, I speak about these plans in black and white of the Gay Pride in Paris, about these dark plans of marine floods breaking on rocks, and especially of these extracts of an animalist film showing of small antelopes being ingenuously made grab by caimans at the edge of a river.
The film then darkens, by its connotations as much as by its colors. As if one needed false notes for this cantata of the pleasures. On the tape its, the voluntarily éraillée voice of Aloual underlines the last ironic lasciviousnesses of grommellements. The film finishes in vain by a paperboard carrying a sentence hedonist, kind “Carp diem” of Horace (but she is of Pétrone), it is more disillusioned than orgiaque. The evil makes its appearance in work of Marti. Evil, in other words cruelty, ugliness, ageing, death. The loukhoum is not eternal. The small kids finish in the jaws of the crocodiles. “
Dominique Noguez, “Loukhoum and crocodiles” (extracted)
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In a prayer frantic and syncopated by the gestural one of the camera, the Arab rates/rhythms and vocal incantations, delivers Sultan, a splendid Eastern dancer.
Art of the defended body, this dance of the disorder, offers sensuality and beauty, defies the interdicts and opens with crowned.
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Diasparagmos is one of the ritual practices most wild of the ancient worship of Dionysos in which it acted, to feed the frenzy of the orgies, to cut up, tear and devour the still fresh and believed flesh of sacrificed animals.

The metaphor, the allegory, the shifts in meaning are aesthetic and plastic figures recurring which circulate freely in all films of the author.
Here, the scenario writer, present in film, incite two young men with entredévorer. Matter coloured amoncelle on the bodies while a third guest gives up himself in his turn with the sacrificial meal.
The principal protagonist, Aloual, fetish actor/agent, exhausted by the ritual and the injunctions of the camera, try an ultimate offensive in which the filmed body and the filming body end up clashing.
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