Dossier presse corpus

sophie faudel et santiago amigorena
présentent
une production
les films du rat
un film de christophe loizillon
corpus corpus
image : aurélien devaux,
son : patrick genet, jean marc schick,
montage : sarah turoche, jean marc schick,
décor : francoise arnaud,
direction production : hugo ripoche,
assistant : mike beaudoucq, simon grass,
casting : marion touitou, youna de peretti,
et magali thirion, stéphane brisset,
jean michel pitois, françois comparo,
christophe chaussebourg, ivan raiffé,
emilien woisard. damien girault,
camille bonin. jordane oudin, benoît yin.
avec : elina lowensohn, emilie gavois-kahn,
laurence petit jouvet, isabelle bry bernard,
marcel laurence, jean christophe bonnin,
esteban ribeiro, frederic kontogom,
guillaume rotté, benjamin peuziat,
david vandromme, vincent martinot.
durée : 26mns
format : 35mm/couleur/1,66/dts stéréo.
world sales
les films du rat 10, cité d’angoulème 75011 Paris
[email protected]
tel : 00 33 6 07 11 99 35
Synopsis
One body taking
care of another.
une production les films du rat,
avec la participation de France 2, Christophe Taudière
et le soutien du centre national de la cinématographie,
du Centre Images-Région Centre, d’ image et mouvement, Centre national des arts plastiques.
Ce film a obtenu la bourse Brouillon d’un rêve.
cnc visa n° 119108 Copyright @ les films du rat 2008
christophe loizillon
interview
What is the film’s background?
Corpus/corpus is the first part of a trilogy which
will be followed by two short films homo/animal
and homo/vegetal. This trilogy explores the
relationships that living creatures entertain between themselves: man, animal, vegetal.
Our consciousness of being alive among other
living beings decreases. We have gradually
stopped considering animals and plants as being
really alive.
Why not shooting the faces?
I directed a film called faces in which I shot only
faces. A face says a lot, too much, the story of a
whole life. The face blinds the beholder because
of its strength, its appearance. By omitting faces
in this way, the body can better be seen and
heard.
Through Corpus/ corpus I wanted to portray
the meeting of two bodies in a precise cinematographic setting: how transactions between two
bodies involve their feet, sexes, hair, etc.
These dealings are obviously more than just
a money transaction: the hairdresser does much
more than cut hair, the old man does much
more than have his toe nails cut, the prostitute
offers much more than her body.
These transactions show that our souls are
perhaps to be found in our hair, our sexes or
our feet.
Today more than ever our body is evidence of
our spiritual and metaphysical nature.
Is it not utopian to claim to portray the world
with these bodies through just a few shots?
Yes, but the aim of this utopia, just as any utopia,
is not to change the reality of the world. It is to
allow us to describe and think about the world
differently.
The spectator’s intelligence is infinite. It is difficult
for a film director to be up to the intelligence of
the spectator.
These bodies are not just an excuse to capture
time. They are the essence, the substance of the
film. These bodies represent not only the time
previous to the film but also “life” as captured by
cinema in just a few minutes of shooting. The
plan séquence here allows the mind to work
freely. The spectator has apparently little to see:
just two bodies without faces. The person’s
thoughts are concentrated not only on the
meaning of these bodies but also on his/her
place as a spectator. Why am I looking at
these images? What is cinema?
What a director believes he is shooting no doubt
comes out differently and has a different time
setting for the beholder.
Is Corpus/corpus on the border between a
documentary and fiction?
The border between a documentary and fiction
is very vague. I am not entirely sure that the
documentary genre exists, nor for that matter
reality. There are film directors’ visions, points
of view about the world, then films. But there is
no contradiction between shooting ordinary life
and cinematographic dramaturgy. Directors do
not film life. They enact life for a film
filmography
fiction /documentary
• Ma caméra et moi. (feature film)
with Julie Gayet et Zinedine Souahlem, 2003.
• Le silence de Rak. (feature film)
with François Cluzet, 1996.
• La jalousie. with Nathalie Richard, 1990.
• Le panorama. with Nathalie Richard, 1985.
• Faces. 2003.
• Feet. 1999.
• Hands. 1996.
• Felice Varini.1999.
• Eugène Leroy. 1995.
• François Morellet. 1990.
• Détail, Roman Opalka. 1986.
• Georges Rousse. 1985.