Shown in Compétition #2.
Mysterious collage meticulously observes a woman producing a screen print of herself. A second red layer contaminates the image. This then doubles when the pattern is also applied to her clothing. A miniature on reality and reproduction with melancholy audio collage.
Texte du comité de sélection
Surrealist study of a form in flight. A young woman transfers, the color slides from one state to another. The motif becomes a refrain and harmonizes with the old-fashioned softness of the soundtrack by Leyland Kirby. A reflection on the support already present in his previous film Printed Sunset, 2017, where the photographic device unfolds from print to 16mm.
Translation made by the translator www.DeepL.com/Translator
If I’m not mistaken, this film is the culmination of a trilogy that includes Printed Sunset, which won an award at the FCDEP in 2017. Could you talk a little bit about the general project that runs through this trilogy?
Each film in the trilogy is motivated by different elements, both personal and external to me, I see all three as a kind of portrait. But one of the catalysts that gave birth to these films is the idea of becoming an image and the flows of identity that this could represent. Starting from there, I tried to conceive the structure with the more basic elements of cinema: set, movement, gesture etc… So Printed Sunset is almost literally a printed sunset and Mirror Travelling, it is literally a tracking shot around a mirror. For Aberración Cromática (fiebre), it is less simple than that, because I took inspiration from a book by Derek Jarman called Chroma: like a diary, he was writing his observations around the color, and about being sick in the hospital. I became interested in the ambiguity of the color red and its cultural and natural connotations.
Can you tell us about your relationship with film? Your previous film, you had made a copy of it in the Abominable. Do you intend to do the same for this one?
For film, I’m interested in the process it reveals, beyond its formal qualities (format, texture, chemistry) that are attractive to me. I think that being a medium that is no longer part of the big industry, we have to invent economies of scale to use it, unless you’re Christopher Nolan or Tacita Dean. In my case, for example, I try to never do a double take, that is, I assume what was in the first and only take. This completely changes the conception of a production, favouring retakes with the performers. Afterwards, I like the scanner to quietly work on the sound in post-production, which in my case is half of the film in terms of production. For Aberration Cromática (fiebre), no, I don’t intend to show it on film, the print I made at the Abominable of Printed Sunset showed me that I lack the technical mastery to succeed in having a beautiful print.