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Choses qui me rattachent aux êtres

Informations

Année : 2010

Pays de production : Belgique

Durée : 15mn

Format : 16 mm

Générique

Réalisation : Boris Lehman
Image : Antoine-Marie Meert
Son : Jacques Dapoz
Montage : Ariane Mellet
Production : DOVFILM

Synopsis

Le film se présente comme un inventaire à la Prévert. Son titre s’inspire des Notes de Chevet, de l’écrivain japonaise Sei Shōnagon qui fut dans la première moitié du XIe siècle dame d’honneur au service de l’impératrice Teishi. On pense évidemment à Georges Perec, écrivain majeur du groupe OuLiPo, mais aussi à Dada ou à Fluxus. Les images et les mots s’enchaînent comme dans un poème.
Depuis le fameux « Ceci n’est pas une pipe » de René Magritte, on sait bien que les évidences sont trompeuses, que les mots, comme les images peuvent être détournés de leur fonction première.
Il s’agirait ici d’inventer l’objet par l’image et le mot, en le filmant. Acte de création, mais aussi de nomination, comme Dieu fit au début avec le Ciel et la Terre, avec Adam et Eve.
De présenter à la caméra quelques objets de mon quotidien (qui sont aussi des allégories) ayant appartenu à d’autres, qui littéralement, me constituent: « Je suis la somme de tout ce que les autres m’ont donné ».
Musée sentimental dont je serais le gardien. Chaque objet, chaque « chose » a son histoire.
Au spectateur de s’en inventer une.

The film is like a Prévert inventory. Its title is inspired by Notes de Chevet, by the Japanese writer Sei Shōnagon, who was lady-in-waiting to the Empress Teishi in the first half of the 11th century, and brings to mind Georges Perec, a major writer for the OuLiPo group, as well as Dada and Fluxus. The images and words flow together like a poem.
Ever since René Magritte’s famous “Ceci n’est pas une pipe” (This is not a pipe), we’ve known that the obvious can be deceptive, that words and images can be diverted from their original function.
The idea here is to invent the object through images and words, by filming it. An act of creation, but also of naming, as God did at the beginning with Heaven and Earth, with Adam and Eve.
To present to the camera a few objects from my daily life (which are also allegories) that belonged to others, that literally constitute me: “I am the sum of all that others have given me”.
A sentimental museum of which I am the guardian. Each object, each “thing” has its own story.
It’s up to the spectator to invent one.