In Deep Inside, Camille Henrot's first film, a pornographic film is transformed into a voyeuristic, lovelorn ballad. Drawn frame by frame on the 35mm film stock of a 70s pornographic film, the sexual content is partially revealed and partially hidden by black animated forms that seem to be fugitive memories of an old love. The music is slow and harrowing like a howl for love.  The artist works with marker as one might use a stencil, revealing part of the original film in the drawing's negative space. By combining pornographic and sentimental expression, the film posits that emotional misery is also physical. Sexual excitation and heartache are both based on an alternation of empty and full, presence and absence, hidden and revealed things. This manipulated film creates ambiguous images where scopophilia is no longer based on tactile frustration.

Deep Inside

This movie is a retrogressive interpretation of the Frankenstein myth, evoking the genealogy of ideas and images bound to this modern Promethean figure from its origin to its derivative forms. The story is built by a succession of fleeting images in a manner both instinctive and erudite. Following an association of images from different cultural and historical contexts, PSYCHOPOMPE treats the strange transformation of "mythological waste" and its survival - through B-movies and amateur images as well as in moments from daily life. The soundtrack, inspired by minimal, ambiant and Noise music, is played live by its composer, Joakim, and his band the Disco. It is a peculiar mix of electronic sounds and acoustic instruments, stretched-out layers of sounds and noise explosions, outlining a cinematographic narrative: a story of metamorphoses.