THE OPINION OF THE “WORLD” – TO SEE
Discovered about ten years ago in partnership with Virgil Vernier on some remarkable films (Office, 2009; Pandora, 2010…), Ilan Klipper has since pursued a solo career where television and cinema films, documentaries and fictions intertwine. After The starry sky above my head (2017), Judeo-neurotic comedy behind closed doors with the excellent Laurent Poitrenaux, return to documentary with these tightrope walkerswhich remain resolutely on the side of madness, in more acute forms, already crossed by Klipper at the turn of his Saint-Anne, psychiatric hospital (2010).
But here we leave the institution. Three character portraits feed the film, which is about as unstructured as its heroes. It’s the least of courtesies, no doubt. So there is Aube, a restless young girl, filmed in the kitchen of the family apartment, who holds herself entirely in the rigidity of tight rites and sometimes takes her head in her hands when what Ferré called “the voice of the d’ in” makes too much noise. She willingly declines enumerative litanies, which she likes for example: “Gemstones, gymnastics, decoration, fashion, gift accessories, plants, actress of Star Wars, kitchens and small living rooms, clothes are elastic pieces and railway stations are punks… period. »
We connect, in the tree-lined courtyard of a hospital, to Yoann, a young black man of colossal stature, turning endlessly in the courtyard, profiled under the branches, all at the invention of an epic language, sometimes languid, sometimes percussive, singularly heady, which would speak both of his own misfortune as a downgraded child and the beauty of the world. Something like that : “I’m in the psychiatric hospital, but look at the beauty, the beauty of the event, outside it’s much harder, people aren’t laughing, people are putting pressure on you, but I believe, in the sun, to the sun we see, every day, every day, shine the sun on me, thank you sun! »
gothic mystery
Or a thousand leagues from old Marcus, who remains locked up in his apartment-capernaum, whose space is devoured by worn objects. His relationship to the world is entirely due to these relics, these objects he keeps or those he collects in the street in a few dazzling raids, bringing back rusty bits of metal like so many trophies. The protection of these treasures implies, of course, constant vigilance, Marcus remaining on a war footing, even in his underpants, against any incursion from the outside world, in whose insidious power he obviously counts his wife, all the two insulting and threatening each other copiously.
You have 41.85% of this article left to read. The following is for subscribers only.