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giving up on verisimilitude, films are dedicated to dynamiting the most basic coordinates of the world- starting with the law of gravity. The consistency of the bodies, the coherence of spaces, the stability of time, everything suddenly becomes variable in this cinema of the outburst.
At first sight, nothing feels more current than a film that combines the movements of an African immigrant in the streets of Paris to the images of clashes between young demonstrators and the French police. However, beginning with the highly contrasted black and white of his night photography, Paris est une fête rejects, out of the gate, the simple submission to the urgencies of the present. As an artist who left the atelier and began to do his pictorial studies in the street, amid the chaos of the city and the crowd, Sylvain George ' s camera sketches, composes brief portraits, risks a landscape. Its assembly composes a mutant tapestry, which is transformed with each new musical movement. Paris is not a blank frame, but an immensely rich canvas already painted, which the film comes to shave, pierce, twist in the density of the night.
Excavating images and sounds of the past: the eminently contemporary gesture. In the fertile landscape of reappropriation cinema, the films of Monica Savirón and Deborah Stratman occupy some of the most fertile grounds. In Savirón ' s extremely meticulous work, the archive image is both a statement and a plastic, sonorous, vital material.
If Broken Tongue impresses with its incomparable condensation power- over a century of history in the feverish rhythm of a great three-minute movie-, Answer Print is a renewed look on the material virtues of cinema: file imperfections become vectors with its own visual poetics; the roughness of abrupt cuts makes an unexpected rhythm; the wild noises of projection become music.
In Second Sighted, it is the fluidity of forms that prevails. From the collection of the Chicago Film Archives, Olivia Block ' s music and Deborah Stratman ' s editing orchestrate the world ' s variation: between one rhyme and another, the movement of one image contaminates the next, the landscape reveals its plastic virtues and its unsuspected evocations. In Illinois Parables, it is history that comes to disturb the stillness of the landscape. The erasure of indigenous peoples, a failed
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