The songs (I, II, III, IV, V) make up the first series of a film whose unfolding parallels the life of the author. No connection, however, with a newspaper, any realistic, daily element being excluded. A single theme will run through the entire work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body. , transforms each look, invests each place in its light, its shapes, its colors, asserts itself in the face of what men believe to be eternal: the ebb and flow of the sea, the mass of rocks, their stone works. . SONG I: Prelude in black and white, shot at dusk, by the sea, opposes still shots or very long panoramas of rocks, sand, sky and water to shots of faces, hair of two young girls whose presence as well as the light which surrounds them and plays with their forms introduces life, as though arrested. SONGS II, III, IV: Shot at the end of winter (Song II), at the end of spring (Song III) and at the end of autumn (Song IV), in color and in one place: an old house opened by large bay windows on its garden, play on interpenetration, both in terms of light, colors and shapes of the interior and exterior. SONG V: Postelude in black and white, shot at dawn, in the same places as the Prelude, several months later, makes each form appear more refined, almost abstract, each form under the white, cold, dazzling light of the early morning. (.. There is finally poetry: it finds moments of great strength with Jean-Paul Dupuis who films moments, vacuities, openings, times to take time, images of the imagination built on reality , on a backlight, a light, a shadow, a young woman, a face. He films the timeless, the vagrancy and brings the viewer on the journey to bring his memories - which he would invent - on these moments stolen from time . It's admirable (and these images are so beautiful in themselves... Roger Balovoine, Paris Normandie, March 1981.
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