Bruine Squamma 3ème partie : Séries Saturées

A portion of a building, Maine Montparnasse, filmed from the 5th floor of a neighboring building according to architectural lines, is transformed by geometric movements more or less fast blurring our perception.

"As Guy Fihman said, Bruine Squamma is also the story of a woman (N.K.) coming out of her house (Mozart House) speeding (tunnels) to join a man (Bléneau + cloud). And yet I wanted the shape of the film to be the furthest, the most secant, the most tenuous possible, a continuum of beats where fluctuate incessant metamorphoses swirls. I wanted to travel in a shaky and fixed form, states that continue to wither and get caught in unfixable beats." --Claudine Eizykman

Claudine Eizykman with VITESSE WOMEN, presents a torrent, dazzling film that intersects several sequences according to various rhythms, sometimes close to the perceptive thresholds, allowing the deregulation of the senses desired by Rimbaud, opening the way to another mode of perception. —Michel Nuridsany, Le Figaro

In L'Autre Scène, the images and the sound material try to manifest the mechanism of an advertisement around the blade.

The same sequence is mingled with itself, calibrated according to curves that draw shapes on the blue or on the yellow, creating shifts in the thickness for a search of volumetric effects.

Lapse is a research of a porous state of the cinematographic material which by "intra-photogrammic fragmentation" (Claudine Eizykman) and encrustation of grains unfolds in its crackling like a film in mesh.

A single plan and its inverted double: a portion of the Avenue de l'Opera, cut out in the city where "the zoom gliding over this space, rather in a deserted space, which anticipates or participates in a disaster. "(Claudine Eizykman in Erres, No. 5, Toulouse, 1978).

Home movies shot on Super 8mm by W+B Hein over 10 years.