ARTE – MONDAY, JUNE 27 AT 12:40 AM – DOCUMENTARY FILM
Deeply poetic, human, the cinema of Nicolas Klotz and Elisabeth Perceval is like a flamboyant mirror, reflecting its renewed brutality to the world, while making a few resistant and luminous perspectives sparkle at the edge of the frame.
From colonial times to the sixth extinction (of animal species, natural habitats, due to human intervention causing pollution and global warming, etc.), When the house is burning speeds up time and fixes unforgettable images (animals passed through the filter of the camera, sublime ghosts in the making), as if extending the work of Chris Marker (1921-2012) on new paths.
Elisabeth Perceval on writing, Nicolas Klotz on camera: political reflection and visual experimentation constitute the matrix of the work of the duo of directors, which has been the subject of a retrospective at the Center Pompidouin Paris, in December 2021. Among the thirty films, let us mention Pariah (2000), where we embark on an RATP bus with precarious young people, a few hours before the transition to the year 2000; The injury (2004), in immersion-fiction alongside refugees disembarked from Roissy; finally, more recently, The Heroic Moor. The border is burning (2018), journey in the jungle of Calaisan incandescent homage to its “residents”, ending in a sublime solo by the sea.
The retrospective gave rise to the production of a new film, We say revolutiona commission from the Beaubourg cinema team which asks each of its guests (Kelly Reichardt, Albert Serra, Bertrand Bonello, etc.) to take stock of their work, by freely answering this question: ” Where are you ? » Cinema version of When the house is burning the film will be released theatrically by Shellac in early 2023.
We can let ourselves be carried away by this visual poem, in three parts respectively shot in Brazzaville, Barcelona and Sao Paulo (“Race 1”, “Race 2”, “Race 3”, like so many ancient and contemporary manhunts) . But it is not uninteresting to know some references that inspired the filmmakers and fed the shooting.
The film begins with a terrible tale, taken from the book red leaves (1930), from William Faulkner. A master has just died and this one must be buried with his dog, his horse and his slave… The race of the fugitive, to escape his sinister fate, echoed among some inhabitants of the Republic of Congo, a young actor remembering such a practice from the time of his great-grandfather. Such is the cinema of Klotz and Perceval, drawing from reality their tireless thirst for debate and showing.