We call ‘negative hands’, the hands found on the walls of the Magdalenian caves of sub-atlantic Europe. These hands were just pressed upon the rock, after having been covered with colour. Usually, they were black, or blue. No explanation has been found for this practice.
Jan Decorte’s second feature is a film adaptation of Henrik Ibsen’s Hedda Gabler. At the centre of the play by the Norwegian playwright are the Tesmans, who have just returned from a long honeymoon.
“From the clouds, that is from the invention of the gods by man, to the resistance of the latter against the former as much as to the resistance against Fascism.”
Maurice Pialat: This isn’t cinéma-vérité. That doesn’t exist. Everything is always reconstituted. The only truth of the cinema is what’s filmed with sincerity; there’s authenticity there.
“Why/how are the images so gorgeously luminous and cadaverously creepy at the same time, a form of possession and dispossession that seems to match perfectly Akerman’s relation to her movie, which she uses like a mirror? Is that the way that we use it, too?
Bruxelles, le 15 novembre
Cher Boris,
Gildas Grimault: Many documentaries play on humour and emotion to get their message across. Why did you refuse that approach?
