OFFICIAL SELECTION
 FIDMARSEILLE 2008

INTERNATIONAL COMPETITION

world premiere

  

 Temps qui reste

LE TEMPS QUI RESTE

(ÉTUDES MUSICALES)



Manon de Boer

 

 BELGIUM
2008
Colour and Black & white
35mm/DVcam
23’

Original version
No dialogues
Photography
Sebastien Koeppel
Sound
Aline Blondiau
Editing
Stempel sprl

Casting
Jean-Luc Fafchamps,
Laurent Blondiau,
George van Dam,
Emmanuel Louis,
Jan Rzewski

Production
Auguste Orts
Distribution
Auguste Orts

Filmography
VILLES SAISIES / GEWONNEN
STEDEN, 2007
PRESTO, PERFECT SOUND, 2006
RESONATING SURFACES, 2005
SYLVIA KRISTEL PARIS, 2003
THIRTEEN ELUSIVE MOMENTS
OUT OF ONE SECOND, 2001
ROBERT, 1996
LAURIEN, 1996


 

Manon de Boer pursues the exploration between music and cinema introduced in Presto- Perfect sound (2006). This new proposition again moves the game of distance and proximity between sight and what is heard. Le temps qui reste (etudes musicales) offers us two cinematographic translations, like two movements or two ’studies’ on the experience of listening.
The reprise in two beats of the famous 4’33’’ of 1952 by John Cage, score which fixes the time of the absence of any note: 4’33’’ of silence. The stake for Cage, one remembers, was less to claim the nihilist power of zero music, and the failure of all hymn, than to open the ears to the concert of the real, in the hall, and what one was able to perceive beyond its walls. Manon de Boer, in two beats and two shots, the first fixed, the second ’travelling,’ allows two forms and two places of silence to spread out. One passes from within to outside, from the interpreter to the listeners, also all immobile, all also attentive, stopping to finish on a sky crossed with cables resembling a virgin stave traced in the blue sky. Coming together and Attica rely on another diagram, the circular ’travelling.’ With these two works by the composer Frederic Rzewski (the second evoking the riots of 1971 in the prison at Attica), it is a question of turning over face and back. To put together tomorrow’s promise and the infernal memories in a circle which, if it isn’t vicious, could sketch the possibility of a new community. Attentive to the length of the unfolding of the works as much as to the historical time, these ’studies’ form paradoxes between aesthetic and history, as the title evokes, borrowed from the Italian philosopher Giorgio Agamben’s essay

Nicolas Féodoroff 

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