The symbolic caress. The argument is the erotic power of a choreography with three people: camera, colour, and above all, bust. The musical illustration is a electroacoustic piece named Adonai, of André Almuro, composer and working for radios. The score, totally independant, no repeating, no illustrative, add an erotic charge to the sensorial perception of the movie. Editing functions with formal analogies contained by shots, without any consequence. It is a gathering of mod... (Full plot summary below)
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The symbolic caress. The argument is the erotic power of a choreography with three people: camera, colour, and above all, bust. The musical illustration is a electroacoustic piece named Adonai, of André Almuro, composer and working for radios. The score, totally independant, no repeating, no illustrative, add an erotic charge to the sensorial perception of the movie. Editing functions with formal analogies contained by shots, without any consequence. It is a gathering of moduls reconstituted in a whole thing by the linearity of the movie. In this one, the body's desire is always present, expressed by the language of images. Concerning the topic, it is this body, space to film, sacralised by visual interventions and exploration of camera. The projection on big screen produces a body-landscape or an androgynous body of which some parts remain undecipherable. Track of colours on epiderms is a personnal tribute to "living paintbrushs" used by Yves Klein for his "Anthropometries" (1960).
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