January 2016. The love story that brought me to this village in Alsace where I live ended six months ago. At 45, I am now alone, without a car, a job or any real prospects, surrounded by luxuriant nature, the proximity of which is not enough to calm the deep distress into which I am plunged. France, still in shock from the November terror attacks, is in a state of emergency. I feel helpless, I suffocate with contained rage. I am lost and I watch four to five films a day. I decide to record this stagnation, not by picking up a camera but by editing shots from the stream of films I watch.
contre la laideur du monde/i see a darkness/后重看 「Les nuits de la pleine lune」|20190925Reflet AP重看
January 2016. The love story that brought me to this village in Alsace where I live ended six months ago. At 45 I am now alone without a car a job or any real prospects surrounded by luxuriant nature the proximity of which is not enough to calm the deep distress into which I am plunged. France still in shock from the November terror attacks is in a state of emergency. I ...
社恐影迷的影像絮语，由作者在7个月时间内看过的400余部影片中的镜头拼贴而成，基本辨识不出几部片名（除了[飞向太空]），不过影片着力点也不在于此，影像与日记式的旁白之间时而无缝贴合，时而有着各异的隐喻距离，文本与影像、声音和画面间的对位关系既包蕴着诗意，又引人遐思。| 电影是镜子，不是窗户（这点个人不同意，二者共存交织）。 | 死在[天空属于你们]之前的父亲 | 电影是发泄，是逃脱，是复苏；电影是...
很庆幸无法从中辨认出任何一部电影的原作，也就避免了把创造性观看当作影迷游戏的风险。每个片段几乎都不存有其先在的语境，它们就像散落的句子、引言，全是引言，不知从何处而来的引言，本雅明的引言，在旁白（或许不该叫它“旁”的，而是内在的言说）的引力下成为自转的星系，好像只要继续说下去，就一直会有影像出现……被电影虚构出来的影像和原生的影像一样多。
形式是有趣的，画面与语言之间有一种若即若离的微弱引力。但我，或所有不懂法语者只能听见声音、看见文字，所以难以充分浸入，声画随着时间都逐渐失效了。
