In contextus

A mediterranean garden dulled in a hot summer afternoon. The camera twirl around like a wasp and, into the burnt super 8 images fragments, we discern, among stones and scrubs, erotics photos in which Bacchus spirit is blowing and who invite to wake up senses ...

Two merry partners, fleshy roses and an improvised dance celebrate this glamrock jewel that glorifies the ambiguity of desire.

Extracts of Le Chant d'Amour (1950) by Jean Genet, absolute fetish movie-poem, are screened as moving tattoos on a lying body who surrenders to bites of sensuousness.

With an editing engraved as a jewel, this movie is a real neo-baroque manifest. On the one hand, the Seine's sparkling, the Alexandre III bridge's sculptures and the majestic stairs descents of a mysterious personage ; on the other hand, the brilliance of a mirror reveals a lascivious inner space, invaded by art works, strange objects, tropical plants, heavy clothes, in the middle of which sit enthroned the Aesthete contemplating male nudes photos. The crystalline voice of a counter-tenor celebrating Bach perfects the voluptuous feeling emerging from this movie.

An avant-garde short film.

Aloual, the black pearl leads an initiatory journey which is a quest for the part of mystery and the wild side that lays deep inside each of us.

Gestures are full of sensuality, colours are intense, pleasure of the Super 8 and a dizzy feeling remind us of dreams.

Powered by the performances of sexy boys and girl (and a mischievous photographer) and texts by Dominique Noguez, punctuated by a musical lyricism that combines classical Arias, dandy rock and bewitching Arabic chant, this film is conceived as a long poem allegorical about beauty, desire and death. Allegory intensified by the vertigo of the transgression, the mysteries of the sacred and the images of Baron Van Gloeden, Jean Genet and Michel Journiac, masters of funerary eroticism and body’s fury.

Between music and silence, a pale boy handsome as a statue by Canova and a flamboyant black boy in a ritual photographed by Marcel Mazé. With the presence of a Michel Journiac's self-portrait sculpture, votive offerings of sacred skulls and crucifixes, dried flowers, Monique Delvincourt fragmented mirrors, Louboutin heels, images of the assoluta Diva and a sound re-articulation of Gounod's Faust by Berndt Deprez.