Venerdì 29 settembre ore 17.30 Auditorium San Micheletto Lucca
Prima parte rassegna
7 visions fugitives, 1995, 35 mn
In Sept visions fugitives, produced in China, Cahen creates impressionistic transformations of landscape and people. Cahen writes: “The looking and listening audiences are confronted — in addition to the pure impressions — with basic questions about work (the child using a traditional device to shake the feathers from the mattress) about freedom, about life in China… and ultimately about life and death: the burial, the bird, the man with a sheaf of straw on his back symbolizing the passage, the beyond… I had to struggle to make what I know are stereotyped images my own. The pure impressions and raw filmic material are completely reworked, going much further than the original takes.”
Arabie Felix . Yémen un goût d’éternité (sous titré en italien), 2022, 38mn
The images filmed in 2005/06 in Yemen wanted to capture the beauty and the mysteries of the country of the Queen of Sheba, with the important tribal system, pillar of the social structure.
Since 2014, a terrible, endless war has upset and bruised this country. May this film, these images shot in a peaceful Yemen, be a testimony and a call for an end to this “forgotten” war.
Sanaa, passage en noir, 2007, 7mn
Here we witness an unexpected encounter between two cultures, a metaphor of our time with its radically opposing beliefs.
Sabato 30 settembre ore 17.30 Auditorium San Micheletto Lucca
Incontro a cura di Sandra Lischi, a seguire seconda parte rassegna
Karine, 1976, 8mn
Attentive, curious, pensive, sensitive, small and already big… Karine, photographed from herbirth to the age of 6, grows and transforms before our eyes. Rhythmized by slow-motion shots, the photos are animate and come to life. From the child we retain his gaze, the appearance of his femininity, his way of being in the world and the irreversible change. (Robert Cahen)
Juste le temps, 1983, 13mn
Parenthesis of a moment of travel where transformed landscapes become full-fledged actors in a story which, implicitly, tells the possible encounter between two beings. The boundaries between the exterior and interior landscape, between sleep and wakefulness, between noises and silence, and even between the characters are attenuated to the point of being erased. The notion of passage, so well illustrated by train travel, permeates the entire story.
(Sandra Lischi, ll respiro dei Tempo, ETS, 1995)
Voyage d’hiver, 1993, 18m
From “it was” to “did we go there? » Antarctica approached, observed, scrutinized, analysed, moved. Questions about the reading of the landscape, the reading of movement: a journey of memory, in slow motion, as “to have time to finally know” (Roland Barthes).
Kosmos:the uncertainty, 2018, 11mn di Cahen – Guzmàn – Hirsch
In this short film “uncertainty “sounds like the Tibetan singing bowl heard at the very beginning of the film to mark the end of a metaphorical nuclear explosion. Twins still in their amniotic fluid announce our human condition, our compulsion to walk, move forward, run. When everything moves, we go through the forest of emotions in a dreamlike way. But it is thanks to water and its light reflections, to its transforming power that the infinite “Kosmos” plays with our uncertainty.
Sign, 2021, 10mn
These doors open into four soundscapes that express in order: tension, relaxation, expectation, ecstasy. Symphonic breathing in four movements where music and sensuality of images by subtle shifts are offered in counterpoint. Little story of an encounter to decipher.
Blind Song, 2008, 4mn
A small slice of life in the streets of Ho Chi Minh City.