“Scenario writer, actress, author of “the crusade of Anne Buridan” (1995) and of “the sexual revolution have not taken place” (1998), Judith Cahen continues for a few years already a cinematographic project of autobiographical nature, which in addition questions the very fine borders between the cinema, the dance, contemporary art. To be on borders, to be at the border of disciplines, borders of states of perception and emotion, such is its matter.” Pascale Cassagnau, future amnesia, investigations into a third cinema, 2007<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”4322″ image_size=”full” animation_type=”entrance” animation=”None” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”5px” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=”yes” content_placement=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left” row_position=”default” row_position_tablet=”inherit” row_position_phone=”inherit” overflow=”visible” pointer_events=”all”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” overflow=”visible” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n
by\u00a0Judith Cahen\u00a0(2005, 77min)<\/p>\n
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.
\nJudith 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?
\nThe 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
\nText: AI&KQ<\/p>\n