At the legendary Belvedere Hotel in Cerbère on the French-Spanish border a group of young people and a director have gathered
together to put on a show, a production that is itself the subject of the play performed in front of an audience and during which the film was shot. Once again, the film and stage director Vayssié explodes the logics of cinematic recording. He stages a silent choreography of bodies, to which the spoken word is added afterwards for the film. This discrepancy between the time of the recording, the body and the spoken word is the ideal space for burlesque and poetic narrative inventions. All today’s topical subjects are grist for the mill of Vayssié and his actors – desire, the fluidity of identities, horizontality and the collective, art and politics, art and the climate catastrophe, art and… so on. What would a political community look like when measured against the yardstick of artistic creation? – Claire Lasolle, FIDMarseille
César Vayssié
FR 2023 | Deutsche Premiere
131 min | Französisch
César Vayssié
Born 1967 in France. He works between documentary and fiction, dance and performing arts. Many collaborations in the crossover of the arts, including Philippe Quesne (Kammerspiele Munich), Boris Charmatz and Dimitri Chamblas.
Films (selection)
The Lady Crying 2012 | The Sweetest Choice 2015 | UFE 2016 (11. UX) | Ne travaille pas (1968 – 2018) 2018 (13. UX) | Ricorda ti che è un film comico 2023
Credits
B: César Vayssié | P: Caroline Redy (AFE), César Vayssié (Exhibition Direct)
Mit Alix Boillot, Noémie Develay-Ressiguier, Theodora Marcadé, Gaël Sall, Ferdinand Vayssié