Marcel Mazé

The film appears like a ritual with splendids and crypteds psalms. The Great Master of Order (Marcel Mazé, new fetish actor after Aloual) seduces the young male prey with a running cinema projector which carves Murnau's Nosferatu extracts on their bodies. Metamorphosis, rituals passages, Eros and Thanotos, illusion and reality, film into the film are the themes and images in perpetual osmosis in this Stéphane Marti's opus.

The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.

It is a fragmented portrait where Marcel embodies different characters, a mischievous dandy immersed in a profusion of shimmers and erotic pictures, a bewitching photographer featuring nonchalant beauties like Sicilian shepherds or a black angel, romantic walker Nosferant performing cyclical rituals that celebrate Eros and Thanatos. Dark or bright masks of his desires echoing. Lyrical images, film editions as secular and sacred celebrations where, in the often frenzied allegories which unveil a bewitching Marcel, entangled beautiful and young shooting stars such as Sarah, Orlan, Baptiste, Patrice, Samuel, Roman, Thomas, Anders, Alex, Christian, Yohan or Elie.

The fortuitous meeting of two women to the identical first name, Lucy, who formerly loved the same man, Jonathan, induced, in this film, of the polysemous variations on the memory, art, and the difficult relationship between creation and emotional life. Dehumanized by an exclusive artistic practice, the man lost his reference marks little by little. "Lucy en miroir" wants to be, also, a shifted and transverse second reading of "The Contempt" ("Le Mépris") of Godard, by a step more plastic than analytical or conclusive.

Between music and silence, a pale boy handsome as a statue by Canova and a flamboyant black boy in a ritual photographed by Marcel Mazé. With the presence of a Michel Journiac's self-portrait sculpture, votive offerings of sacred skulls and crucifixes, dried flowers, Monique Delvincourt fragmented mirrors, Louboutin heels, images of the assoluta Diva and a sound re-articulation of Gounod's Faust by Berndt Deprez.

The ending of filming 24 passions over 24 years in Burzet (France). Shot on a silver film, it takes us on a tour around the area now left empty.

The episode of Gérard Courant's Carnets filmés, Crime contre le cinéma (December 25, 2006 to December 2, 2006) is divided into four parts: Colas Ricard at Centre Pompidou, Joseph Morder at La Rochelle, the Filmer à tout prix Festival in Brussels, and Michel Nedjar and Jakobois at Centre Pompidou.