Philippe Gouret

Rouges Silences

Alain Mazars

Anne Marie Arrignon, Michel Conversin

Here the codes are both amplified and distanced by an expressionist plastic that for the first time perhaps in Expressionism, takes humor into account. Some very close-ups of flowers, insects, are reminiscent of the prose of a Caillois that I did not know until this film equivalent cinema. There is a double movement in this film. At the same time, a sort of restraint of the plans and a bulimia, a frenzy to film, perhaps this is what mainly troubles us and takes us into a way of seeing that was unknown to us.