Originally a text in fragments, more or less biographical, of different characters. Crossed stories, mixed times, memories and inventions.  Coming from the voices encountered. They look like text like sisters. They are the voices of memory, the shadows cast by the characters, the voices of girls, the voices of indecision and evocation.  We begin with this work: to read, to record (in analog, it takes breath).  Here comes a place, a place found: the foliage of a vine in the South, crossed by the wind Mistral: a landscape.  Where are we? Where the boy dies, would we see what he sees? Where was the child playing in the neighborhood? At the heart of the narrative, at the heart of the written word?  That would happen.  Harvesting images, shifting gears, Multiplying the generations with the listening of the voices, even in memory sometimes.

Passages

With Istanbul, Martine Rousset puts on the brakes to the world's movement through a cinema of deceleration. At the boundaries between image by image movement and optical fusion, the rhythm of the film gives way to a suspended or floating time. Is it not certain that the idea of duration is more able to render a perception of the city that rather burns for intense emotion. It seems as if the camera cultivates a dreamy half-sleep. To this soft throbbing, blends however, variation of exposure as well. Therefore, at certain times, seeing becomes fragile and dangerous.

Atina - İstanbul

The unfinished Julien Gracq text, the road 1970, a forest near the sea,  the enigma of a trajectory,  by this text in this lanscape and this landscape in this text,  it's diging, since a double echo to a same root,  deep, invisible,  an absolute presence,  a stones fire,  then, text and landscape are foliage of the same language.

Chemins

Night is falling  the landscape is disappearing  leave the world and its memory  the night,  rags in its wake  last page.