Courtisane festival, notes on cinema, 23nd edition, 27 - 31 March 2024
Panoramic portraits of football fields and fortune camps in Keur Masaar/Malika in the outskirts of Dakar commented by an inhabitant from the neighbourhood. Images on and off-screen (and off-side) of these football places which are ever present in Senegalese society.
A parody of the audio-commentary option that most DVD publications include. The filmmaker comments on the creative process of his project just as we watch the film – about the identity conflicts experienced by a Muslim immigrant in the United Kingdom- unfold. The subversive permutations of film and commentary, interpretation and deconstruction, open up new perspectives on the notion and procedure of fictionalisation.
“Brune Renault is a kind of looped fiction that happens in a car sliced in four parts resting on small wheels, basically a sculpture. Since we can open the car, we can make impossible camera shots, moving in and out of the object. The goal of the piece was to have this car cut in four parts to give the illusion of movement, which is a paradox. I wanted the sculpture to mutate into a functional object (real car), once viewers were starting to follow and “suspend disbelief” for the fiction. And then, make the fiction being lost to have the video’s function to mutate into a document about the usual contemporary art sculpture. The impossible camera shots showing the cuts of the cars had to be the disturbing element that should betray the fiction, but then again the power of fiction is hard to break down.” (NB)
Stardust is the second part of the trilogy where Nicolas Provost investigates the boundaries of fiction and reality with a hidden high resolution camera, turning the cinematic images into a fiction film by using cinematographic and narrative codes from Hollywood cinema. The first part of the trilogy was Plot Point (2007) which turned everyday life around Times Square New York into a thriller film. This time Provost takes his hidden camera to Las Vegas and uses the glorious and ambiguous power of the gambling capital to turn everyday life into an exciting crime story. With real Hollywood stars such as Jon Voight, Dennis Hopper and Jack Nicholson as extras.
Accepting the Image
Accepting the Image portrays the way New York City women, their dreams and their lifestyles are represented in the media and in reality. The film questions this dual relationship between both worlds by sketching the portraits of Alynn, Lindsey and Holly, three young women who recently moved to the city. Filled with certain dreams and expectations, they each tell us what New York means to them and what their motivations were to go live there. As it appears, their incentives seem to blend with the image of the city as it is depicted in their favourite movies and television series.