film, italian première
HD video, col., son., 2h 1' 30''
The Host and the Cloud (2009-10) began as an experiment within the spaces of the Musée des Arts et Traditions Populaires in Paris, which is now closed. The employees of the museum came to be involved in a series of actions inspired by folk traditions, reinterpreted by a few actors, using three universal, annual holidays: Halloween, Valentine's Day and May Day. The experiment was shot and turned into the film The Host and the Cloud, which, in fact, documents those events. The role and behavior of actors and staff are influenced by heterodox narratives and by the various situations created in the closed space of the museum. The collection of many imaginary characters, the changing configurations -real or fictitious- shape the situation which gradually replaces the subject. The Host and the Cloud is a fairy tale, a day in the mind of an absent subject. The actors embody the different aspects of this ghost; the live situation, its movement, and the fictional characters that appear in the film are the alter ego – in the mental landscape - of this absent subject. The Host and the Cloud is both a hypnotic film and a film on hypnosis, set in the most conditioning of spaces for narration, the modernist museum, permeating it with seeds of imagination. The fragmented memories of an incongruous series remain: a fashion show with multiple appearances of a model; a remake of the Thriller video with a Michael Jackson impersonator; the actor who played ET; Bokassa's coronation; an orgy in a night club, skeletons; an obsessively recurring image of people made anonymous, masked by an open, illuminated book; and, finally, the story of two stories, the relationship between Apple and Steve Jobs, and the story of a teenager with the pseudonym of Dreamwalker who manipulates puppets like voodoo dolls, using the net as a means for carrying out his crimes ‘at a distance’. In addition to the poignant loops from Wuthering Heights by Kate Bush, this mixture of cultural / popular-generational waste is drowned in the music of Debussy, passages from Peter and the Wolf and samples of the soundtrack of Mulholland Drive by David Lynch.
HD video, col., son., 2h 1' 30''
The Host and the Cloud (2009-10) began as an experiment within the spaces of the Musée des Arts et Traditions Populaires in Paris, which is now closed. The employees of the museum came to be involved in a series of actions inspired by folk traditions, reinterpreted by a few actors, using three universal, annual holidays: Halloween, Valentine's Day and May Day. The experiment was shot and turned into the film The Host and the Cloud, which, in fact, documents those events. The role and behavior of actors and staff are influenced by heterodox narratives and by the various situations created in the closed space of the museum. The collection of many imaginary characters, the changing configurations -real or fictitious- shape the situation which gradually replaces the subject. The Host and the Cloud is a fairy tale, a day in the mind of an absent subject. The actors embody the different aspects of this ghost; the live situation, its movement, and the fictional characters that appear in the film are the alter ego – in the mental landscape - of this absent subject. The Host and the Cloud is both a hypnotic film and a film on hypnosis, set in the most conditioning of spaces for narration, the modernist museum, permeating it with seeds of imagination. The fragmented memories of an incongruous series remain: a fashion show with multiple appearances of a model; a remake of the Thriller video with a Michael Jackson impersonator; the actor who played ET; Bokassa's coronation; an orgy in a night club, skeletons; an obsessively recurring image of people made anonymous, masked by an open, illuminated book; and, finally, the story of two stories, the relationship between Apple and Steve Jobs, and the story of a teenager with the pseudonym of Dreamwalker who manipulates puppets like voodoo dolls, using the net as a means for carrying out his crimes ‘at a distance’. In addition to the poignant loops from Wuthering Heights by Kate Bush, this mixture of cultural / popular-generational waste is drowned in the music of Debussy, passages from Peter and the Wolf and samples of the soundtrack of Mulholland Drive by David Lynch.
sunday 21 april 6 pm Cinema Lumière
