Le quatuor ambigu

« How much wood would a woodchuck chuck if a woodchuck could chuck wood ? » A tongue twister is a sentence with much alliterations and is complicated to pronounce. A tongue twister must be spoken quickly and repeated a few times. Langage breaks down between and meaning. This film is a linguistic game between sound and meaning and a portrait of the linguistic reality of Berkeley. Many American people recite tongue twisters in diffrent languages and/or in English as second language : German, Englsih, Arabic, Armenian, Assyrian, Mandarin, Korean, Croatian, Spanish, French, Hebrew, Japonese, Farsi, Portuguese, Tagalog, Vietnamese.

Composed of serious and funny musical scenes, an exploration of the virtues of translation and desire for communication between humans and birds. Told by a narrator from the future, after the sixth mass extinction, an observation of the attempts made to establish a possible exchange.

Composed of images and music produced with artificial intelligence, The Dream of Abel Gance explores the poetic imagination of filmmaker Abel Gance through his "crystal-house"—a hybrid space serving as a laboratory, film studio, and neural realm. Inspired by his writings on cinema, the film weaves a virtual temporality that allows us to envision the filmmaker’s forgotten utopias and dreams. The archive has become speculative, breathing new life into the long-standing promises of the Seventh Art.

The principle of the film l'Ébranlement is twofold, based on the visual approximation of two distant terms (fencing and fireworks) and on a principle of expenditure (the possible engendering of one by the other). Images of fireworks are edited in echo to shots of a fencing duel, situated in a perforated architecture, with arcades (the Vieille Charité, in Marseille), which multiplies the incessant passages from shadow to light. At the moment of the clash (the point of the foil touching the opponent's body), the fireworks unfold as if the contact was established - an explosion, an epidemic mode of contamination by successive stings, point by point. The touch of the foil answers the blaze of the sky. As soon as the sky darkens, after the last spikes of light are extinguished, the fencing duel can be resumed, like a carillon or an automatic game. The attack is a flash of lightning that sets the collar on fire.

This film shows Perejaume walking with his hands filled with paint from his atelier, Can Basuny in Olzinelles, to the Museu de Pintura in Sant Pol de Mar. The time of action is basically what it takes for the paint to dry, and is referenced in the title of the piece. Matter, time and nature of painting, all come together in this work, depicting from how paint is used to its final shape as an object deposited in a museum.

This film lists language discrepancies. Speaking backwards, listening to world radios, conversing in different languages, writing a coded message, signing, calligraphy, singing in Esperanto, praying in tongues, speaking imaginary languages ​​are some of the actions of this curious encyclopedia.

A sly investigation of language and its links to cultural identity, Érik Bullot’s documentary looks at the repercussions of Turkey’s rapid removal of the Ottoman Turkish alphabet in 1928.

“The sound is the ape of the light”, wrote Jesuit Father Athanasius Kircher. Can the laws of optics be transposed to the world of sound? Can one see the sound? Through relationships between image and sound, voice and music, noise and performance, the film “The Ape of Light” shows a series of actions freely inspired from lesson-books and treatises on acoustics.

Crossing a wave, drawings in the form of a maze, the games of a child with his mother, the bamboo forest, the races in the burnt grass, the snow in winter, the flowers in the light, the trees in bloom in spring, the walk under the trees, the sunrise, the clouds. After the Calculation of the subject and Oh oh oh! , this film is the third part of a filmed diary which follows, step by step, the seasons of a child.

Can we take a film back, propose a new version of it in order to update its promises and unfulfilled injunctions? Can we refresh a film, as we say of a computer screen? One can for example say the film, tell its manufacture and its hazards during a conference. Traité d'optique is a film conference that questions the conditions of possibility of a film revival by crossing material culture and utopia, media archaeology and family narrative, about a study film made in 1987. If the conference sometimes replaces the film, can the film itself be a conference?

A hedgehog in the light, the shadows of a hand on a round belly, a bouquet of carnations, a bowl of tangerines, the bathing of an infant under a medlar tree, the jumps in his mother's arms, the first steps in the grass, bus rides, flowering trees, the child's runs in the countryside, shy glances at the camera, the return of the seasons, the shadows of palm trees, still lifes, laughter and shopping. This film is the filmed diary of a child's first three years.

Travel diary filmed in Tamaris (near Toulon), Istanbul and Marseille, “Le Manteau de Michel Pacha” is a film-essay on exoticism. How can exoticism persist beneath the documentary? Between the imagery and the experience of travel, the numerous filmed portraits experience the fixity of a mental image. “The civil war replaced exoticism”: this film abruptly intersects with History.

A short story from Les Enfantines by Valery Larbaud, La Grande époque , describes the imaginary countries crossed by children in a undoubtedly tiny garden.