• Water Lily - A Matter Of Fact

    Un film de vacancesWith Surujmoni Hansda, Falguni Hansda, Shreya Mallick, Raima Mondal, Borsha Sharda Executive producers Sukla Bar Chevallier, Promila Bor Photography Jean-Frédéric Chevallier, Alejandro Orozco, Arnab Banerjee Sound Sunny Prosun Bor, Krishnandu Makhar, Himadri Mondal, Chandrai Murmu Music Abraham Calvachi, Benoit Mory, Andrés Solis, Rogelio Sosa Additional music "Goldberg variations" [J.S. Bach] by Kimiko Ishizaka 

    Written, directed and edited by Jean-Frédéric Chevallier

    [Produced by Trimukhi Platform, India, 2012-2015]

     

     


    Matter Of Fact n°7 : Extrait 7 (Essai d... par Trimukhi-video

     

    [ENG] The aim of this film projectyet to be completed, is the following: the making a film of around seventy-seven minutes in length that shows, in a relaxed and joyful manner, via the presentation of a series of small daily acts free from grandiose pretentions, in other words, free from events, drama and ritual, a young woman's passage towards adulthood in a tribal village in Bengal, India. The mother tongue of the village's inhabitants is Santal, but the dialogues are spoken in French. Potential titles: (1) Matters Of Fact, (2) Water Lilly, (3) Perché realizzare un' opera quando è cosi bello sognarla soltanto?, (4) Sans doute était-elle plurielle... 

    Scheduled release: 2015.

     

    [ESP] La finalidad de este proyecto cinematográfico, aún no acabado, es la siguiente: se trata de realizar una película de alrededor de setenta y siete minutos que dé cuenta, de manera relajada y alegre, y por la vía de la presentación sucesiva de pequeños actos cotidianos sin alcance espectacular (es decir, sin evento, drama ni rito), del paso a la edad adulta de una joven mujer de un comunidad indígena del Bengala, en India. Pese a que la lengua materna de los habitantes de este pueblo es el santalí, los diálogos se dan en francés. Títulos posibles: (1) Matters Of Fact, (2) Water Lilly, (3) Perché realizzare un' opera quando è cosi bello sognarla soltanto?, (4) Quizás fuese plural ella...

    Estreno previsto: 2015.

     

      


    Matter Of Fact n°1 : Extrait n°1 (Le balais) d... par Trimukhi-video

     

    [FRA] Water Lily - A Matter of Fact est un film-essai en diptyque : deux parties de soixante-dix sept minutes chance, chacune rendant compte du passage à l'age adule d'une jeune femme, dans une village tribal Santal dans un cas, dans un village bengali dans l'autre et, dans les deux cas, de rendre compte de cela de manière relâchée et joyeuse, par le biais de la présentation successive de petits actes quotidiens sans portée spectaculaire, c'est-à-dire aussi sans événement, sans drame et sans rite. Et tandis que la langue maternelle des habitants d'un village est le santhall et de l'autre le bengali, les dialogues sont donnés en Français...

    Reste que si, le tournage a débuté en décembre 2013 et qu'il est maintenant plus ou moins terminé, le travail de montage est loin lui d'être achevé...

     

     
    Matter Of Fact n°2 : Extrait 2 (Le livre) d'un... par Trimukhi-video

     

    "1. Even before finding the title and the context for the shooting, I wanted to make a film where nothing happens. This was my first desire: to make a film where time is spent on these apparently insignificant things (like getting up, getting ready for a meal, etc.), which are nevertheless in reality the salt of our existence. Or more exactly: it is the multiplicity of these actions, their succession, their differences and slight variations introduced by their repetition, that produce this impression that therein truly lies the salt of life – salt being the element that reveals taste.

    I refer, for example, to three-fifths of Apur Sansar [The World of Apu] by Satyajit Ray where nothing happens except for a series of small, unrelated events, devoid of logic, narrative or psychomotor. And while Satyajit Ray ultimately changes course, while, after one hour and five minutes, the plot, disjointed until that point, veers towards the dramatic and the spectacular (with the film even becoming boring because of this), others, such as Rania Attieh and Daniel Garcia manage to maintain it all along their films. In Ok, Enough, Goodbye [Tayeb, khalas, yalla], the first film by these young filmmakers, life follows its course in a Beirut suburb; unconnected sequences succeed one another with such a strong charm – the salt – that when the projection is over, our only desire is for it to continue. What we savour are the small variations and these can only stand out if the film offers nothing dramatic (tension from one image to another) or spectacular (exaggeration of actions).

    I am looking for something like this: to provoke, in the spectator’s mind, from a succession of everyday facts with no connection between them other than the fact that they succeed one another, the sensation that this is the salt of life.

    I also intend, by introducing décalages (discrepancies), to increase the quantity of possible variations. While the same dialogue continues, I will suddenly change the interlocutors: Tamara addresses The 33-Year-Old Man who asks a question that The 30-Year-Old Woman replies in the spot occupied by the young girl. At the same time, I will vary places where the same action takes place – in such a way that the action comes to take place in two distinct places: the 33-Year-Old Man wields saucepans in a house and then continues to wield them, but in the middle of a river. With these shifts in interlocutors and spaces, the intention is to vary variations."

    [Jean-Frédéric ChevallierStatement Of Intent, Calcutta, 2012.]

     

     


    Matter Of Fact n°3 : Extrait 3 (Tu sais que j... par Trimukhi-video

      

    "2. Next comes the context. My three previous films are constructed from specific contexts: an Indian community in Mexico for Questa è la fine del mondo?; slums in Bombay, Ahmedabad and Calcutta for Drowning Princess; children in Hindu and Christian villages in Un film de vacances. Once again this time, it was necessary for me to first find the environment in which to develop dialogues and actions. All the more as unlike the case of my previous works – where attention was needed to capture with the camera the most interesting aspect of the present moment of the shooting –, here I want to take time working with the same group of actors. So I had to find not only the environment from which the script could be developed, but also work out the persons to whom I would lend my words before elaborating the dialogues. I looked for places and people for two years. And it is the tribal village of Borotalpada, 250 kilometres southwest of Calcutta that I have chosen. This village and certain persons in this village. Tamara, The 30-Year-Old Woman, Rébecca, The 33-Year-Old Man, the group of girls, the male listeners, the musicians who appear in the script designate specific persons.

    The text on which I am working plays with the texture and intonation of voices, these people’s attitudes and ways of moving. This implies that during the writing process, I continue to “try on” dialogues – the way one would try on a piece of clothing, to make sure it falls nicely, that the crease is straight, the effect elegant –, to adjust, modify and “try them on” again, and modify them further. I have already done this a little (with the parts of Tamara and The 30-Year-Old-Woman in Bloc 4 of the dialogued sequences attached) to test the way I am proceeding in general.

    And while in the dialogued sequences attached, the sentences can sometimes seem ethereal or abstract, perhaps fleshless, they have been composed with bodies of flesh and bone in mind. For the strategy is not to find words that suit these voices and bodies but words that will produce fragility, fissures and passages in each one.

    In addition, none of the interpreters I have in mind speak French. The language in the village of Borotalpada is Santali – an indigenous language with no Indo-European roots. Interpreters will therefore pronounce words in a phonetic manner – never controlling the meaning, as if, by articulating them, they were speaking about something else or as if something other than what they say has been said. One part of the “plot” lies here: in what the words produce when they are uttered without control – not without rigour or without life, but always out of sync with the meaning they seem to contain. In the movement they produce in the mind of those who listen."

    [Jean-Frédéric ChevallierStatement Of Intent, Calcutta, 2012.]

     

     


    Matter Of Fact n°4 : Extrait 4 (Le porc) d'un... par Trimukhi-video

      

    "3. And then, at last, the title. Matter of fact is the expression used by Gilles Deleuze to describe what the encounter between two Figures produces when speaking of the painting of Francis Bacon. In L’Image-temps, he tackles, while discussing the films of Godard, this same idea, speaking of “la méthode du ENTRE, la méthode du ET” (the method of BETWEEN, the method of AND)”. Matter of fact is a way to insist on the materiality and factuality arising from an “ET” or an “ENTRE”. This is the third desire driving my project: making a film on the encounter, on what happens when two singularities meet. This is naturally not a dissertation on this theme but rather a strategy to decline, in practice, the question of “entre-deux” (literally, “between two”), to concretise it, to test it, that is to feel its real effects.

    What I seek is to multiply, in the spectator’s mind, the possibilities opened up by this conjunctive operation: between the bodies present and the words pronounced, between the images seen (in Bloc 1, a kite in the sky) and the text heard (The Voice Off speaking about a queen and a castle), between one bloc (for example, the fifth, where girls bathe and laugh) and another (the sixth where two of them eat silently). What is produced is these matters of fact, small or big, depending. The matters of fact can be thought to be the piles of salt that the passage from one singularity to another, like water ebbing, leaves on the ground. In this way, the function of the text is to constantly interrogate the seen and the heard. Between the two, there is salt."

    [Jean-Frédéric ChevallierStatement Of Intent, Calcutta, 2012.]

     


    Matter Of Fact n°5 : Extrait 5 (Le verre d'eau... par Trimukhi-video

     


    Matter Of Fact n°6 : Extrait 6 (Si vous étiez... par Trimukhi-video

     


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