L’Invitation au Voyage

BOUQUETS 31-40 continues, like the previous Bouquets, to explore different places, which for various reasons, are ecological. For 31-40 they are in France, in Ardèche, Alpes-de-Haute-Provence, Tarn and Vaucluse and also in Piemont, Italy. 

Little is necessary for everything to appear differently. The date, the hour, the weather, the space's layout, one's glance or presence of mind . . . can make everything change. The boats sail out of the Vieux port in Marseille to be amongst the poppy fields.

Quiproquo is a dialogue on the balance to be found between nature and social-industrial technology. As the film refers to the economy of the means involved in relation to what is expressed, it is both a reflection on the potentialities of the medium and an enquiry concerning the implications of the reality portrayed. It is a question of limits and possibilities, the beauty and tragedy of the world, with a critique of contemporary society’s dominant choices constantly in the background. Filmed in Berre l’Etang, Bouches du Rhône, in the villages of Orgon, Bouches du Rhône and La Coucourde, Drôme, on the roads to Beaumont-du-Ventoux and Carpentras, Vaucluse, and Tarascon, Bouches du Rhône.—Canyon Cinema

Bouquets 1-10 is Lowder’s first collection in an ongoing series of one minute episodes, each composed of footage shot around a general geographic location that has been alternately woven, frame by frame, into a single film reel and connected through the interstitial still life image of a flower that cues the beginning of each integrated film Bouquet. Each bouquet of flowers is also a bouquet of frames mingling the plants to be found in a given place with the activities that happen to be there at the time. Lowder uses the film strip as a canvas with the freedom to film frames on any part of the strip in any order, running the film through the camera as many times as needed.

Couleurs mécaniques presents, in the order they were filmed, six different viewpoints of a merry-go-round. In each case the focus is adjusted so as to select, isolate and inscribe parts of the filmed scene onto the film strip in a way that allows elements of color in movement to be recombined in a particular manner during the projection of the film.

China seen from Beijing May 1988, a year before the Spring 1989 Tiananmen rebellion, where the ancient traditional philosophies and social practices confront the political and economical ideological ambitions of the State.

Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011. Composed over 36 years from 1978 until 2006, it consists of a series of over 2,821 silent vignettes (cinématons), each 3 minutes and 25 seconds long, of various celebrities, artists, journalists and friends of the director, each doing whatever they want for the allotted time. Subjects of the film include directors Barbet Schroeder, Nagisa Oshima, Volker Schlöndorff, Ken Loach, Benjamin Cuq, Youssef Chahine, Wim Wenders, Joseph Losey, Jean-Luc Godard, Samuel Fuller and Terry Gilliam, chess grandmaster Joël Lautier, and actors Roberto Benigni, Stéphane Audran, Julie Delpy and Lesley Chatterley. Gilliam is featured eating a 100-franc note, while Fuller smokes a cigar. Courant's favourite subject was a 7-month-old baby. The film was screened in its then-entirety in Avignon in November 2009 and was screened in Redondo Beach, CA on April 9, 2010.

Canada's king of visual alchemy teams up with France's mistress of minimalism to fashion a photo-based work of cinematic abstraction. Tactile and textured, luscious and luminescent, Two Pictures is a singular statement embodying a powerful dichotomy. This is a film that is simultaneously about nothing and about everything.

This is the first little film dedicated to yann beauvais that, because of the appearance of a hair from top to bottom of all the images, could not be shown in the Brazilian exhibition in Recife celebrating his 40 years of activity.

Reel 1 of Gérard Courant's on-going Cinematon series.

"Turbulence was filmed in the medieval town of Alet les Bains [...] In the middle of the peaceful city, with a warm and relaxing climate, known for its thermal baths, one can see [...] a small waterfall, the images of which, as well as the title of the film refer to the present state of the world today." - Light Cone

A quick view of three remarkable organic gardens: Le Tomple, Le jardin du Mas d’Abri in the department of Gard and Le jardin des Sambucs in the department of Hérault. The film goes over their general layout along pathways amongst the vegetation, ponds and people or animals that happen to be there at the time.

The film starts in the Department of Ardèche with the Mont Gerbier de Jonc (1551 m) from where emerges the "true" source, the official, most distant one from the mouth of the Loire (1012 km), the longest wild river in France. The work looks closely time-wise on the first kilometers of the river's water flow. The scene's sound meets up with us at the end.

A multi-projector, single-screen work superimposedshot a positive and negative print.

A glimpse of a spot around the Hôtel-Pension Beau-Site on the Chemin sur Martigny, Switzerland, situated in a hamlet surrounded by snow-capped mountains.