Timanfaya

The shadows of screams climb beyond the hills. It has happened before. But this will be the last time. The last few sense it, withdrawing deep into the forest. They cry out into the black, as the shadows pass away, into the ground.

Intimate and tactile capture of the outside world through its original material (water, earth, sky, light) in the time of a look, a presence.

The tale of an encounter...

Each year, the Tamil community from South India and Sri Lanka met to celebrate the God Ganesh. The film is a description of gestures, dancing bodies, attendance recorded during this festival, crossing reminiscences of my stays in India.

Resulting from performance projections of films painted directly on film. The film literally confronts pure abstraction and the unrolling of the film loaded with materials.

Ghosts of matter, luminous traces, original worlds, made of internal sedimentations, surface, merge, vanish.

Liquefied pictures morph into substances of airborne [volatile] lights. The eye does not have hold anymore on forms with a now unsteady outline. By successive births, these throw themselves little by little in different conditions of color until they are embodied in the completion of a picture.

In this film, shots from two voyages unfold in parallel. First, 8mm images made at the beginning of the seventies by an unknown traveler: this 20-minute film was found at a flea market. A handwritten text described an itinerary, while the boxes indicated the years 1973 and 1975. These shots, left as they are, punctuate super8 images filmed by me during two recent trips, in 2008 and 2010, organized in the sequence with respect to the itinerary that I had followed. The soundtrack for my images comes from the ambient sounds recorded on location as well as from online sharing sites, while the older images have been left silent. It is a film of snapshots revealed and developed by a gaze, taken in a geography dreamed up by the author: not a travel journal but a travel film: a voyage to the interior of a signifier, a desire of a poetics of image and sound.

'The angle of the world allows us to see the real as an outer and inner presence at the same time, an opaque otherness, yet capable of becoming an intimate space. These incommensurable lengths and distances of an interior that opens up: The mysterious movement of the clouds, the cadence of the waves against the light, or the silent slippage of a barely identifiable human silhouette, everything seems transfigured, derealized and reinvented by light in a poetic world that evokes the paintings of Turner or Friedrich, the writings of Poe or Baudelaire.’ — Violeta Salvatierra

"At the beginning, they were those words that you wrote to me in order to generate images. I would make them from far away, alone in Seville in Andalousia. Then, after a first silent version, first editing...The film would encounter its final from as an intimate essay split between your voice and poems that you read and my images." - Philippe Cote

A moment spent in a garden. Bursts of light, flowers trembling, life flies by.

Short film by Philippe Cote.

Ordinary scenes: a market in South Laos ... Agencements of raw snapshots

Short film by Philippe Cote.

Nocturnal dreamlike wandering, filmed in several cities of Southern Europe: Portugal, Spain, Italy and Greece. Starting from a visual motif, the film gradually develops a more metaphorical tone. The title is a tribute to the film by Clemens Klopfenstein.

The human face, from original black to full light. Haptic cinema, the camera prolongs the body looking for these moments of confusion where other opportunities emerge. Shot in Super 8, the film has been upgraded in a self made fashion by re-filming inside a projector.