Paroxysm of the Super 8

Focus #4

Sat 5 October 201905.10.19
Cinéma l'Étoile
unique : 3€

Programmed and presented by Laurence Rebouillon (CJC), in partnership with L'Abominable and La Poudrière.

In the presence of Catherine Bareau and Alice Heit

Bodies and things are born in the light, in a material constantly in movement. The intensity of the argentic flows in the veins. The session is composed of a performance by Catherine Bareau, in contact, in the manipulation of her projectors, which plunges us into a tactile and sensory experience, and a film by Alice Heit, Les Eaux Profondes, which takes us to the heart of a group of women, whose bodies are magnified by the sun, listening to their testimonies, exchanging, in all sorority, on feminine pleasure, their sexuality and their presence in the world.

Un film fille en roue libre à la vie silencieuse
Catherine Bareau
Les Eaux profondes
Alice Heit

Cinema holds fantastic experiences when one dares to leave the beaten track of classic film making and directing. Fresh from the waters of its conception, Deep Waters is an experimental documentary, an essay and above all a work of cinema. Alice Heit, the director of this medium-length film, is conducting a patient investigation into a phenomenon that is still little heard of and that some people associate with a specific identity: the fountain woman. This research leads her to collect the testimonies of many women, who then become the storytellers of a story that links each of us to the mists of time. From the singular to the universal, the art of storytelling is patiently woven here, like the threads of a long tapestry containing a piece of human history. And little by little we discover the weaving that takes shape before our eyes: an invitation to revisit feminine pleasure from a new angle.

The ability to release water at the moment of sexual pleasure is no longer a singular rarity but a capacity that every woman’s body possesses. We find it in an underlying way, in the representation of the divinities, sources of fertility in the ancient civilizations where the feminine was respected and venerated…

But the path is far from being without difficulties, as a woman testifying to Alice Heit’s microphone expresses it well in voice-over, because each individual is linked to the transgenerational history of a lineage of raped women, and no lineage is unharmed by the patriarchal order of the world in which we live. However, each individual is also able to heal from her wounds… and a path of reconciliation of the woman with herself, body and soul, opens up…

Alice Heit’sDeep Waters is also a concrete invitation to women to get to know their bodies intimately in order to better reconnect with them, and thus with their inner source.

This approach to female empowerment is also reflected in the filmmaker’s choice to reappropriate the means of production at all levels of the film’s production, shot in Super 8, developed by hand, self-financed (participatory financing)… while integrating a collective dimension, inviting many women to experiment, to express themselves, to find pleasure in doing and being, within this space.

The Super 8 allows to give birth to an image on the hypersensitive support of the film, grainy, vibrating, approaching the tactile aspect of the skin… The nudity of the bodies and even less their feminine diversity are no longer taboo. The filmmaker films them with complicity and sisterhood. By small touches, we experience an inner, intimate serenity, in the present time.

Alice Heit thus reconnects with a whole history of independence in cinema that took the form of the experimental with personalities such as Germaine Dulac and Maya Deren, or more recently Marie Losier. She explores all the dimensions that the artisanal cinema leaves at hand to create in close connection with the elements she summons, like the filmed bodies, which speak for themselves.

The stop motion animation in Deep Waters also summons the joy of experiencing female bodies outside of puritanical taboos, to reveal their inner magic… Alice Heit brings ancient goddesses back to life after having sculpted them and nourished them with her thoughts. The soundtrack breathes life into them. From then on, the association of these divine representations with the bodies of contemporary women filmed in Super 8 re-actualizes the intrinsic and multi-secular force of the feminine.

In 1866, Gustave Courbet painted The Origin of the World. In 2019, Alice Heit revisits the theme, with an unprecedented analysis of the beauty of feminine power, to offer life as much as the pleasure of life, in the same way that water represents, source of life and pleasure.

Cédric Lépine
(text taken from the blog of Cédric Lépine, accessible at this address /blog)

” a freewheeling girl’s film whose silent life

a film without a title, a film that comes out of the projector a film without an age a naked film that goes at its own pace. a film through the window a film that passes and falls a film that is snatched from the rage

a film on the edge of a void that catches its breath a secret film that crashes a film that puts itself there

a film that speaks not that chatters not that chokes a film under the sky a paper film a film that picotises a film that traces a film that scratches a film with fly’s feet and earth stains a film with
trembling grass

a film that gets by a film that approaches and moves away a film birds a film that slips from the eyelids a film that stays there

a film at the end of the tunnel a film that wraps around a film at the edge of the picture
a film that catches the eye without moving a film that stays at the edge
a film up in front in fragile strength a film that hems and rolls effortlessly
a film that fights in the light a film that sinks that doesn’t line up but

a film that stretches out in its furrow a little bush in the wind a little shiver that jumps and twitches in the wind a film that opens on both sides a film that squares up and cracks

There is a moment when you think of the little images that wander without sadness. There is a moment when you are, the images around, thinking that things have a meaning, and you walk around. Christophe Tarkosun
freewheeling film girl whose silent life is political


instructions for use / modus operandi: replace film with girl, and aim and aim and aim “

Catherine Bareau

L’Abominable is a shared film laboratory. Since 1996, it has been providing filmmakers and visual artists with the tools to work with silver film: Super 8, 16 mm and 35 mm. The place functions as a collective workshop where the machines used to make films are shared: a filmmaker can develop his or her original negatives or reversals, perform tricks and format changes, edit, work on the sound or make copies.

La Poudrière is a desire for collective creation. It is a group of feminist filmmakers from L’Etna, an independent workshop of experimental cinematographic practices, located in Montreuil (93). La Poudrière, a group in permanent construction, non-hierarchical and open, is a space of creation, reflection and learning where a political solidarity is experimented.