“Instead of the heavy 35mm camera painfully held on the shoulder for Sombre, it’s with a small DV camera (and all that it involves) that Grandrieux has shot Un Lac, with a freedom of mastered improvisation which is felt throughout the entire film (...). And thus the camera’s most directly sensitive recording capacity accompanies a will of great abstraction in the way that Grandrieux treats each of the components of the film, in the editing and the sound design, which is entirely constructed, as well as in the decision of lowering the level of light sensitivity, carefully respected from the shooting to the digital colourgrading and the blowup to 35mm. All of this seems to suggest that we are in front of a new way of negotiating the relation between the ‘two biggest trends in cinema, the design-tendency and the recording-tendency’. Serge Daney added ‘two ways of engaging the inhuman in the human’, explaining that it would be ‘in the middle, the ‘scene-tendency’ (...) that the inhuman is kept at a distance’.” (Raymond Bellour)
