2.00pm It’s always about luck (55’)
« As we don’t choose either
The streets of Manila, Paris or Algiers
To learn how to walk,
To be born somewhere, For the one who begins to live
It’s always about luck » (M.LF.)
3.30pm In front of a useless sentence (52’)
« The words that we say with our eyes
Talking seems ridiculous to me
I jump forward and then step back
In front of a useless sentence
Which would break the fragile moment » (C.)
4.50pm I’ve seen you going down a rainbow (42’)
« I know you’re waiting for me by the fountain
I’ve seen you going down a rainbow
I take the plunge into summer rains
I go sailing in my neighbourhood » (R.C.)
8.30pm Only dogs can win (59’)
A tribute to the Festival Image Contre Nature followed by an encounter and discussion with Hélène Bez and Claude Ciccolella
“At the end of July 2018, the festival Images Contre Nature (ICN) is suspended. In the following months, only the number 19 – for its 19 edition – appeared crossed out with the letter X and it will be the waiting. The machinery is sleeping, only money is missing. As long as we don’t say it’s over, nothing is over. Silence, a long silence. Who said you can’t live in a fairy tale? Who said you can’t walk naked in a forest on fire, who? No one. Every one. Everyone knows that fairy tales hide death. Everyone knows that a human body burns, the bones calcify, water evaporates. So after 4 years, let’s bring the machinery into motion again, for a little while, to stop the clock, for a last program.
We present Only dogs can win, a program that of course will not sum up 18 years of festival. No film can be, nor has to be the illustration of a programme, as rich as it may be. In fact, the choice of films for our program is based on a simple principle that was very useful for us: to stay as clear as possible and keep the direction as fairly as possible, to know how to position ourselves in the cinematographic landscape and to stay in this place as fairly as possible.
When it was created, Images Contre Nature built itself on a question: how does digital technology changes the practise named “experimental cinema”? At that time the word experimental was not really in use anymore. Yet, it is the perfect word. It does not cover any rigid definition, and thus no dogma. There is some space to get in and give our own point of view. One among others. But one that has to be named, to show our colours. We will approach this cinema from the angle of language, which explains our program headings: space, time, movement, perception, senses…- titles that once they appeared, will remain unchanged, as the common threads gathering films with a wide range of subjects. Today, when delving into ICN archives, with emotions, the mechanics has changed. Intimate, it gets in tune with our memories, the inability of showing everything, the nonsense, questions, pains, beauty. Ten films, a concentration of what is going through us, after all.
We want to thank the film makers, all those who accompanied us, wholeheartedly. We thank Les Instants Vidéo and their word “homage” which woke us up from our sweet slumber. It was infinite. H.B.