Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body. A fragmented and subjective day-to-day chronicle that outlines a recurring obsession for registering even the most ordinary things, where the least poetic aspects of life, that is to say, the most somber ones, become the eye’s filter.
"Sounds of images" come to me from the windows overlooking rue Saint-Maur (the former pilgrims' path to Saint-Denis) and suddenly make me want to take a closer look. "Images", at the same time, spring from T.S.F.'s post, Louis Moreau Gottschalk starts playing on the keyboard of the pedestrian crossing at the bottom, there, just below my windows; Henri Vieuxtemps makes the umbrellas dance to an old American tune and Gaël, on a visit, takes up this tune on his magic flute. "Some naturalists claim that insects adapt to the vegetation around them and modify their physiology accordingly," says Louis Moreau Gottschalk; I claim that some filmmakers adapt to the spectacle around them and modify their perception of the world accordingly. Certainly I am one of them, and I console myself by thinking that I am not the only one of my kind.
At the age of 32, Gaël Badaud inaugurated a period of intense creativity (drawing, poetry, vocal music, film), after experiencing a constant wandering and struggle for survival, which marked him for his entire existence. Retired from his parents (gypsy mother and Breton father) by the Public Assistance when he was 4 years old, he was placed on a farm with a foster family. But this tormented being feels different in this environment foreign to his nature. At the age of 20, he left Loire-Atlantique and moved to Paris. Ten years later, in 1976, he meets Teo Hernandez, with whom a fruitful exchange takes place. He becomes the interpreter of the filmmaker's films, which, teaching him to read and write, allows him to express his sensitivity. In return, he shares with him his experience of "life in a vacuum". From their collaboration are born Liberté provisoire (1977), Gaël (1978) and Tables d'hiver (1978-1979) - filmed by Téo - who give us the keys of their relationship, and the achievements of Gaël, filmed, according to his mentor, "According to his personal gaze, without worry of any school or any conceptualization, cinema abrupt in the sense that it irrupted without rhetoric in the field of the filmic. Cinema away from the recipes and which proposes a new look, that of the innocence ".
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