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Prisons

" Eat, For This is My Body "by Michelangelo Quay plunges us into a deep breath hallucinatory experience yourself where do the suffering of a people, relationships of domination, dispositions arising throughout a film that takes the form of a strange ceremony.

A white woman, Mrs. (Catherine Samie), lives with her daughter (Sylvie Testud) in a large house in which she collects black children whom she provides, food, health and education.
To process reports from colonialism and slavery, particularly in Haiti, Michelangelo Quay favors the exploration of a more obscure of these reports: the springs unconscious deep trauma and devastation that inner part of this dominant-dominated relationship, raise the ambiguity of it. And for this, Michelangelo Quay does not stand on the ground of realism but chose to proceed by allegory.
all begins with a magnificent tracking shot that takes us into air slowly into the bowels of a barren land with low vegetation. This value is traveling exhibition: in one, all is said about the situation in Haiti: visions of overcrowded slums, rivers dried up. A land supposedly nourishing but a land where nothing seems push, a cursed place, abandoned by God, inhabited by the wretched of the earth.

The film, by its title, is placed immediately under the seal of the Eucharist. The Eucharist is given as a symbol of sharing, of communion. It is, for Christians, the symbol of Christ's sacrifice, the Eucharist takes a value of food given by God to help Christians live it, what Mrs. It feeds these black children, feeds her own body, the "whitening", the term is not in vain. That woman is somehow equal to God in the eyes of these children, also sealed somehow their dependencies. On Haiti, we can not help thinking of a country constantly on a drip.

This woman becomes a metaphor for the dependence of third world countries to rich countries. But this relationship is ambivalent in this dialectic of master and slave, that one needs the other? Those children who eat this woman are themselves ingested by it becomes the image of an ogre. Ms. emptied of its substance, dries itself in the image of the country. These children are also the raison d'être of this woman. It is a metaphor for domination, but also metaphor of the bad conscience of the dominant. Ambivalence also highlighted by Michelangelo filigree Quay, the figure of Christ, is alienating, but also a symbol of liberation theology, a movement from the Catholic South America advocating a return to fundamentals of Christianity.

's daughter Lady, substitute is also to Christ during a meal recalling the Last Supper. Michelangelo Quay file Christ metaphor throughout the film: the second sequence of the film opens on a delivery that prelude to the arrival of rains, the birth of Christ. Later, the daughter of Madame (Sylvie Testud), exit the house, an enclosed upon itself, to regain the world will find themselves among the people, a black child in his arms like a Pieta. The idea of a black Christ, container and symbol of the misery of a people caught on.
The sequence of ceremonial meals and movies with home like setting, are framed by scenes of carnival and voodoo ceremony. Redeeming moments highlighted by a contrast in style between domestic (home) and outside executives made very light and very neat and light. Carnival and voodoo trance are treated by a camera freer.

The house of Madame is also a metaphor for inner prisons, dispositions that everyone carries within himself. Disposition reinforced by the use of circular tracking shot that can not seem to be unable to leave by the recurrence of liquid flowing referring to a principle of constantly repeating cycle: menstrual cycle, nourishing milk treated with the blood of Christ, Ocean that the slaves of the cross ...

The relationship between interior and exterior is also highlighted by a fine geographical jumps (choice of turning the outside of the house in a European environment). This bias strengthens this boundary cut between two worlds, between two worlds. These reports
concrete domination is therefore double reporting of alienation more deeply buried. Franz Fanon, in "Black Skin White Mask and" noted the psychological trauma And lead by the domination and haunt the unconscious. As such, those who dreamed Caribbean with white skin in their sleep. Appropriation of religion as the masters ... Here Michelangelo

Quay deals with intelligence, without great speech, this part of alienation. As that great play where children dive naked into the milk, when Patrick (Hans Dacosta Saint Val) the Ms. Butler will whiten black face in his unconscious desire to become white. The director plays chromatic partitions: shots of black hands on white surfaces (tiles, tablecloths), white hand on their faces.

This alienation is also illustrated by reports that ancillary innuendo and fantasy intertwine. The desire of the other outcrops, the sexual tension is palpable. Some plans are very sensual, as the white hand that caressed the faces of children in close-ups that come pick up the texture of skin. Shots on mirrors that distort the faces where identities become uncertain ... The use of clips that make up the film also reinforces a sense of identity because of uncertainty in this movie, to escape the subjectivity of the gaze often induced by the use of field-cons- field, to avoid customization. The clip here reinforces the allegory and the universality of the subject.

Michelangelo Quay does not leave us in a situation completely immutable. Out of the house, world amounts to a deadly release. This tension of desire seems alienation seem to be resolved in the exuberance of a carnival outlet for frustration, misery which will flow again when the amniotic fluid will eat hope.

DVD Release September 6, 2010

"Eat, this is my body" France

Dir: Michelangelo Quay

with Sylvie Testud, Catherine Samie, Hans Dacosta Saint Val, Jean-Noël Pierre

Duration: 105 mn

Image: Thomas Ozoux

Editing: Jean-Marie Lengellé

supplemental "The Gospel of the Creole Pig" short film by Michelangelo Quay