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Belgian filmmaker Eric Pauwels' meditation on dream, travel and film.
Motorway, roads, villages of Northern France, Flanders. A man with a Super 8 camera films his route, the villagers and himself. Portraits, self-portrait. As the images unfold a young villager, Josse, is intrigued by the camera’s presence. For the cameraman the lens is an eye with which one films reality, for the villager the camera represents CINEMA, the magic of fiction. Josse accosts the cameraman and leads him across the fields where his girlfriend joins them. The outing becomes their production, with themselves in front of the camera. Games. Gradually diverted by Josse’s enthousiasme the film slides into moments of fiction, until its inevitable breakdown.
A summer film, of complicity, a film linked to the situation of "now or never" because it is born of encounters, availability, reflections or states of being in motion as time, ultimately a "snapshot" cinematographic.
A film made of objects, faces and texts; of lost cats, of found pictures, cut-outs, recreations; a poetic subversion in diary form, one that breaks the calendar into a novel, driving relentlessly as a journey to the end of the world.
In Violin Fase, Eric Pauwels twirls the camera around the body of dancer and choreographer Anne Teresa de Keersmaeker. Through this process, Pauwels creates a new relationship between camera and dancer, but also between body and dance, dance and cinema. Consisting of a geometrical and minimalist choreographic structure filmed in four uninterrupted takes, the artist’s camera captures a woman dedicated to exploring the boundaries of physical exhaustion.
On the death of his mother, a filmmaker makes a film to see how much her disappearance has changed his vision of the world. It is an opportunity for him to look back over his relationship with her: a relationship that made him a free individual, as a man and as a filmmaker. The second night is the final part of a trilogy that began with Letter from a filmmaker to his daughter, which was followed by Dreaming films. The making of this " Cabin Trilogy" is the fruit of fifteen years of work and reflection.
A playful, free, and personal film in the form of a letter, a film interwoven with a thousand stories knit together with different textures, a book of images where a filmmaker shows the images and the stories he wants to share.