Ulysse

Pleurs ; parole ; corps ; mensonges ; images. Le verbe faire au présent de l'indicatif. Je fais, tu fais, il fait, nous faisons. Vous faisez ? Non, vous faites.
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Que font-ils ? Les pêcheurs, les nageurs, les réfugiés espagnols en France. Que fait Ulysse? Que fait Zeus? Nous avons des images, ils ont des mémoires, ou pas ; nous avons des mémoires... même pas.

​Une image est une image, figée dans sa posture sage, délinquente, mélancolique ou rien. Rien du tout. Le vent souffle, la mer amère bouge, les mères amères souffrent du chagrin que les photographies capturent, des enfants malades qui ne sont qu'enfants dans un registre. Que la mémoire efface la maladie de l'enfant et renforce le chagrin de la maman.
​
Merci Agnès, qu'avez-vous fait ? Du cinéma, de l'illusion et des images vraies en tant que telles et fausses en tant que mémoires. Documenteuse, poète, je ne me fatiguerai jamais de tes jeux de mots, de tes jeux d'images, de tes films, de tes jeux d'images de mots de sens. Sens plein, plein de sens, plein de rien, mais n'est-ce pas le rien qui est beau ? Puisqu'il peut tout devenir.

Pleurs ; parole ; corps ; mensonges ; images. Le verbe faire au présent de l'indicatif. Je fais, tu fais, il fait, nous faisons. Vous faisez ? Non, vous faites.
​
Que font-ils ? Les pêcheurs, les nageurs, les réfugiés espagnols en France. Que fait Ulysse? Que fait Zeus? Nous avons des images, ils ont des mémoires, ou pas ; nous avons des mémoires... même pas.

​Une image est une image, figée dans sa posture sage, délinquente, mélancolique ou rien. Rien du tout. Le vent souffle, la mer amère bouge, les mères amères souffrent du chagrin que les photographies capturent, des enfants malades qui ne sont qu'enfants dans un registre. Que la mémoire efface la maladie de l'enfant et renforce le chagrin de la maman.
​
Merci Agnès, qu'avez-vous fait ? Du cinéma, de l'illusion et des images vraies en tant que telles et fausses en tant que mémoires. Documenteuse, poète, je ne me fatiguerai jamais de tes jeux de mots, de tes jeux d'images, de tes films, de tes jeux d'images de mots de sens. Sens plein, plein de sens, plein de rien, mais n'est-ce pas le rien qui est beau ? Puisqu'il peut tout devenir.

Mega chèvre qui mange une image de chèvre je t’aime TELLEMENT

Mega chèvre qui mange une image de chèvre je t’aime TELLEMENT

A short film where Agnes varda reflects on a photograph taken 30 years ago featuring a naked man a naked child and a dead goat lying on the beach in calais. She goes on an odyssey to trace the memories of the past and the subjects of the photograph. 
The photograph is named after one of her subject, a child named ulysse. Through out and later in the film,Varda explains how and what drew her to  capture the reality the present which now , is nothing more than a still-image,  and a shadow of the past creating the illusion of an enigmatic  reality much like the “cave image of Plato.”
She interprets her photography through several symbolism 
About how the image is fluid and ambiguous and can be interpreted by what you think your basis of its reality is and diving into her own symbolism of the image , Connecting her subjects to the Greek mythology of Odyssey also known as Ulysse.

A short film where Agnes varda reflects on a photograph taken 30 years ago featuring a naked man a naked child and a dead goat lying on the beach in calais. She goes on an odyssey to trace the memories of the past and the subjects of the photograph. 
The photograph is named after one of her subject, a child named ulysse. Through out and later in the film,Varda explains how and what drew her to  capture the reality the present which now , is nothing more than a still-image,  and a shadow of the past creating the illusion of an enigmatic  reality much like the “cave image of Plato.”
She interprets her photography through several symbolism 
About how the image is fluid and ambiguous and can be interpreted by what you think your basis of its reality is and diving into her own symbolism of the image , Connecting her subjects to the Greek mythology of Odyssey also known as Ulysse.

A short film where Agnes varda reflects on a photograph taken 30 years ago featuring a naked man a naked child and a dead goat lying on the beach in calais. She goes on an odyssey to trace the memories of the past and the subjects of the photograph. The photograph is named after one of her subject, a child named ulysse. Through out and later in the film,Varda explains how and what drew her to  capture the reality the present which now , is nothing more than a still-image,  and a shadow of the past creating the illusion of an enigmatic  reality much like the “cave image of Plato.”She interprets her photography through several symbolism About how the image is fluid and ambiguous and can be interpreted by what you think your basis of its reality is and diving into her own symbolism of the image , Connecting her subjects to the Greek mythology of Odyssey also known as Ulysse.

A short film where Agnes varda reflects on a photograph taken 30 years ago featuring a naked man a naked child and a dead goat lying on the beach in calais. She goes on an odyssey to trace the memories of the past and the subjects of the photograph. The photograph is named after one of her subject, a child named ulysse. Through out and later in the film,Varda explains how and what drew her to  capture the reality the present which now , is nothing more than a still-image,  and a shadow of the past creating the illusion of an enigmatic  reality much like the “cave image of Plato.”She interprets her photography through several symbolism About how the image is fluid and ambiguous and can be interpreted by what you think your basis of its reality is and diving into her own symbolism of the image , Connecting her subjects to the Greek mythology of Odyssey also known as Ulysse.