Declensions of "I", with provocative overtones, to encourage politically incorrect and resolutely unjustified thinking.
A film about fantasized reality and fantasy made real.
The film I never thought I would dare to make.
At opposite poles from a narrative where everything is said and/or shown, the film is about our daily discontents and babblings, which I have tried to confront for myself. How we question our life choices, that are so much a part of our creativity, how a film unfolds both a personal and a universal history.
A film that bothers me, and that grates instead of seeking the satisfaction-confirmation of liberal ideas.
This is the quality I look for in the films I go to see, unpredictable films that risk failure, films that question their form as well as their meaning. Mine is an indiscreet film that questions what gives us the right to be inquisitive.
As it developed, the home movie became a film for public viewing, a history evident in the film itself, since some sequences were not shot in 16/9.
The film derived from a tape containing materiel I shot with my mother during the summer of 1999, and shots of myself, in love, standing before a mirror in Paris before moving to the U.S. for one year to teach at Harvard.
Three months later in Boston, David Larcher finished my tape, without knowing what was on it, with shots of himself standing in front of a mirror.
This perfect parallel evokes the way a soul tries to understand itself the better to deal with that unknown quantity, the Other.
I think of the film as being rather like a literary essay, a first-person exploration of the frontiers of cinema.