Stay, blend for a time in a city can be likened to a visitation in the religious sense ... Dieutre Vincent is one of the few smugglers who plunges us into the secret world of a city. Not so spectacular as its appearance, but in its periphery, the margins ... city in Dieutre, takes as much as a state that places an X-ray intimate. Sometimes pierces lasssitude, bitterness, regret .... The city spreads out in Dieutre sometimes closes at the discretion of the director and can be summed up in a hotel room which only hint at the atmosphere off location.
Dieutre do not feel a city it breathes ... And even in the final struggle with life ...
Buenos Aires Buenos Aires ... ... City ... where magic still resonate Carlos Gardel, Piazzolla and many others unknown ...
city whose urban geography resonates oddly with Paris at the point where they are sometimes confused; same streets, same buildings Haussmanian ... A city that's covered under peaceful, smells of sex, death, politics at every bar, every street corner, Buenos Aires City Borges, Bio-Casares ...
labyrinthine city, where the body and reason go astray ... Each city where passion becomes immortal and eventually drowned in the Rio de la Plata
Snippets images, pictures taken by stealth, multiple seizures at random wanderings, and sometimes lift a few years after, feed the fiction ... Filmed in Dieutre Argentina. "Despues of revoluccion" no exception to this rule. The images that constitute this film often proceed from the diary of various gleanings, a pen camera ...
Especially do not look here déllimités frames drawn with cords, the beautiful image even licked. Dieutre knows and can do ... Just be guided dansl'errance in the dazzling film, letting his eye wander to understand how strong, smart and risky cinema Dieutre.
"Despues revolucccion the" do not withdraw from themes developed by Dieutre for some years: sex, love, wandering, dredge, lonely old age ... He has this constant resassement, dig back to a spot where he seems to have forgotten something ... He returned to the scene, the tame again, the tattoo is in memory ...
the voice of "I" narrative arises off. A voice to the texts of intense chasing! A vocal work that leads to the literature. Text words, written after the fact, after assembly. Texts that oppose the flow hesitant and approximate the immediacy, which refuse to automatism and translation of a stream of thought captures live
Dieutre continues ... Thought, digs the same paths, use the same grounds, and purifies his films as Voice Polyphonic ... in "Good News", a single narrator for "Despues della revoluccion"
Like his other films too, plays with lines of boundaries imposed between private and public sphere. Well beyond a self-fiction facade can not fool the inattentive eyes, commitment and radical film Dieutre struck head-on relations of "I" and "us". From these relationships, it situates the political issues. And this game of non dupe Dieutre aims, shoots and really hit terribly !
"... On the one hand the outside, first from within, it can be thin as a blade, I'm neither one side nor the other I'm in the middle, I'm the partition I have two faces and no thickness is perhaps here that I feel, I feel that vibrates, I am the eardrum on one side is the skull, the other the world I'm neither one nor the other ... "
" The unspeakable "Samuel Beckett
These few words from Samuel Beckett to illustrate great accuracy the work begun by Vincent Dieutre for several years now.
The heart of his work: the oscillation between the self and the world.
Each of them is affected by this quote from the strange secret, by the grace dialectic, the strange magic that makes
Private vs. public
If a brand phenomenon of art and literature of the 90s is precisely the emergence of this self-fictional device. Serge Doubrovsky, and its sequel, Christine Angot or Hervé Guibert for literature, Sophie Calle, made now between the letters of her lovers and his fortune-teller, Rebecca Bournigault and many others will vindicated.
This phenomenon of modifying the self responds, or rather attempts to answer this so-called end of history, the end of the great myths and ideologies; fall of the Berlin Wall, the disappearance of the block East. This
return, withdrawal responds with too much ease that temptation often desperate to overcome the sacrifices and disappointments from time to time, all these ideological losses. Then appeared
these micro-stories, these personal mythologies, these desperate and often desperate, indeed heartbreaking to finally hang up the buoy that is saving the self.
The affirmation of "I", the staging of his own person, words are launched! "Still yet another rehash of this work self-indulgent who are legion in contemporary art, literature or cinema. "Exclaim some already. From art to spread his "crap" as Artaud said, the public square! The "I" put off, annoys, irritates, yet it continues to invade our world ... Intimacy paradoxically becomes public. The intimacy to exist must be constantly seeking incarnation ...
"Mythology of the authenticity and emotion but also the withdrawal intimate postures are often the ones next door, away from the here. Escape the social codes and cultural formatting, evade aliéniation generalized body Giving birth to ourselves as body-subject, far from the threat of world "For a new political art" Dominique Baqué These figures certainly become intimate places where they can nest, where else, like the three monkeys, hiding the eyes, ears, and shut your mouth! Adopts an attitude fetal intrauterine ... But this illusory escape can also serve as a springboard to the fight! Vincent Dieutre actually a brilliant demonstration of his films
Intimacy refers the notion of the sublime, the notion of beauty is a thing of the past ... Dieutre, half dog, half wolf, wanders around these boundaries ... His shadow is drawn at each corner of street ... He does more to beauty if time is that the Fisse one day, he infuriates! The bodies of
Dieutre and his Argentinean friend showed throughout the crudeness of love in a sequence of "Despues della revoluccion" part of the sublime but also the distant past ... Wrinkles carved, faces thickened, flabby muscles , genders tense ... All this filmed with extreme modesty of the hand Dieutre itself. There is even the question of outside and inside in the gradation of intimacy: Dieutre, witness and actor ...
Dieutre The film leaves taken as a singular disenchantment this past gone too, rose from the revolution, hence the title perhaps? What can make you one after missing a revolution, What remains? What remains? What remains ... The question arises as a leitmotif throughout "Despues della revolucccion"
What's good for everyone? What can be seen, heard of all? What we have in common? Hannah Arendt's analysis of this phenomenon in very good "condition of modern man." The revolution should be good for us ...
From intimate as an extension of the political struggle
What Dieutre therefore, through its highly self-fictional work can be political and distinguish themselves from the trend of cowering in the ego which many artists took refuge, they are already exhausted by the poverty of their own work?
"The intimate necessarily commits a thought or rather a minority thought the minority in the sense that some points in our lives, our work or our love, we are forced to define ourselves by what we do and we're not limited by the same contradictory movement "
" Intimacy " Elizabeth Lebovici
This quote from Elizabeth Lebovici aptly highlights the lines of fronts on which fights Vincent Dieutre.
use the first person involves placing themselves outside the social field. The "I" minority aggregates other with him, open up, open, uninhibited ...
Dieutre So in this sense is defined as a minority, addictive behavior, homosexual, communist? ...
First, we consider the intimate as a resistance to the concept in its preciousness, its fragility in precarious by his side labile.
other hand, the body included in its intimacy has ceased to be a place where pierced by arrows San Sebastian the political struggles of the seventies are witnesses, free love, abortion, contraception, the current debate on the full veil is another too. Let us remember Gina Pane Orlan measuring with his body as a standard ... Remember also that each parcel of freedom waiting to be cropped as a bone of morbid followers of the order. In
highlight it first seems more appropriate to consider the work of Dieutre in terms of interiority rather than that of privacy.
Interiority Vincent Dieutre not defined in the mold of the 90s regressive or just became intimate pantomime, in a display set design, pseudo-subversive and where to hide a political fig leaf that we would see ... The intimate Dieutre akin to the work of Acconci in the sense that the body becomes a place of combat and non-withdrawal drowned in whining "enkleenexées' diaries of schoolchildren ... Dieutre Vincent was still very naive or cheek o naivety
"Take advantage: it is intimate. In film, it is even clearer: an intimate look at the big screen, is interested in the best part of cinema alive. Let them ask themselves when they submit their own, the issue mainly concerns the intimate so-called good movies ... But we must get rid of before the intimacy that is not good. Wholesale: intimacy uncomfortable, that by that fact has nothing to do or the false intimacy that is the intimacy that made his own claims, is sold as such to its potential morbid excitement ... "
Olivier Seguret
Elegy on a dead world
A dance begins the crazy absurd movie. That of an old man sketching only a few steps of Tango in a park ... Onlookers pass indifferent or nearly so, some amused, others jeering ... This dance, recurring sequence, from register watermark throughout the movie, not unlike "Happy toghether" Wan Kar Way: A tale of two young lovers in love Love, whose bodies are joined in this sensual dance.
Buenos Aires, the city so far away but so close to Paris becomes the echo of a revolution that did not come to France to seek
Vincent Dieutre breath, signs of a revolution that will no longer happen in Europe, a continent old, ossified.
stills, punctuated by traveling disheveled along the streets of the city where the images are not fixed, where life flourishes, insatiable ogre ... Sometimes the camera is fixed. Intensity: a beggar, a homeless man, a young addict ... These presences, blind our eyes, stand there lurking in the shadows of the corners, park benches, too. Daily attendance and typical of large cities ... Dieutre just has that eye which allows him to show without showing.
The rain of the final sequence becomes a metaphor for a world changing, cleaning, washing the slag
... Would it also wash the bodies of the lovers were fine one day but now old and battered by age, having been conquered by so many natural splendours conquered and reconquered, taken again and again ... a time neglected, abandoned forever ...
Rain signifying the past faisont table shave!, the deluge of rain, the rain of baptism ... The rain falls on what has become the citadel besieged Buenos Aires ...
besieged citadel is the citadel as europe ... But the walls of Jericho will ultimately fail, ... And the flood will be even more terrible!
So perhaps you it Dieutre be able to see, feel, breathe, a landscape without oppression, without being left behind-
| Directed | Vincent Dieutre |
| With | Dieutre Vincent, Hugo Martinez, Raul
Dolgiei Stéphane Bousquet |
| images, sound and voice | Vincent Dieutre |
| Mounting | Isabelle Ingold |
Voice recording and mixing
| Philippe Deschamps |
| Poems | Silviana Ocampo, Matilde Alba Swann
Juarroz Roberto, Pablo Neruda |
| told by | Ana Canestri |
| Production | Good new productions |
With the participation of
| Tempo Movies |
| And support | The Ile-de-France |
