This performance plunges us into a universe of strange poetry haunted by shadows whose movements play with the silhouette of a dancer in a trance. The black and white aesthetic of shadow play and the light takes us back to the origins of cinema, until the magic of its lanterns. The film is being made, in front of the viewer. The haunting music suspends time. Kami Hitoé is a tensioning of the body and the imagination.

This performance plunges us into a universe of strange poetry haunted by shadows whose movements play with the silhouette of a dancer in a trance. The black and white aesthetic of shadow play and the light takes us back to the origins of cinema, until the magic of its lanterns. The film is being made, in front of the viewer. The haunting music suspends time. Kami Hitoé is a tensioning of the body and the imagination.

We knew in which direction to go and more or less where to arrive, although our itinerary would have undoubtedly had to vary according to the conditions at the time of the trip. We knew what time to leave. We knew that on this line, by definition of infinite dimension, there was a meaning to be found. We knew who to call on in case of need (Etienne-Jules Marey, Marcel Duchamp, Loïe Füller). The rest did not yet exist. A line serves as the basis for weaving a complex and unexpected relationship between film and dance, or between film and skin; between the body of the film, the essence of the movement and the sound environment it creates or which creates it; between magnetic field, sweat and ether technology. In search of today's magic, these trajectories are presented as tests between the chemical and the chimerical, full of abstraction but above all concretely present in the moment of their construction.

We knew in which direction to go and more or less where to arrive, although our itinerary would have undoubtedly had to vary according to the conditions at the time of the trip. We knew what time to leave. We knew that on this line, by definition of infinite dimension, there was a meaning to be found. We knew who to call on in case of need (Etienne-Jules Marey, Marcel Duchamp, Loïe Füller). The rest did not yet exist. A line serves as the basis for weaving a complex and unexpected relationship between film and dance, or between film and skin; between the body of the film, the essence of the movement and the sound environment it creates or which creates it; between magnetic field, sweat and ether technology. In search of today's magic, these trajectories are presented as tests between the chemical and the chimerical, full of abstraction but above all concretely present in the moment of their construction.

Le Cristalin is a film in which one forgets the photography of cinema to find oneself in its film strip, where the film is a living organ. The fantasy of a film as a physical continuation of the body... It looks like a vision from the inside of an eye. Dazzled, the pupil retracts and then dilates. Light, the immediate material of the film, is what makes it exist.

The macula is commonly known as the yellow spot, located near the center of the retina at which visual perception is the most acute. A photosensitive body rises from shadow to burn out in light.

In search of an organic cinema, an intimate relation is created: a body which moves and mutates within the skin of the film. Through the textural exploration of photography, the film—the vital organ of cinema—becomes a sensitive frontier between the interior and exterior of a body in the process of development.

A suite of urban deserts scratches and cracks over and over at each screening. A breach of light opens and closes on mnemonic traces. The alternation of the film is done directly on the spot, the representation of the image is in perpetual confrontation.

Asa is a film which tries to show the confrontation between the dance of a body, the gesture of filming, editing, and moreover, between the sensitive surface of the film and the texture of skin in light.