This film is built as a funeral ceremony ; it conveys an investigation on the underworld. In an environment of devastated telluric forces (one-hundred-year-old trees from the Fontainebleau forest were uprooted by the storm of 1999 winter). There is a superb officiating priest in a black tuxedo. The film refers to the everlasting cycle of death, the extraction of a corpse by a young nymph remind’s us of Caravaggio’s paintings, this ceremony is full of ablutions and jewellery; a flowy, golden path to a wonderful mirror through which the miracle of resurrection takes place.

Charon’s black cab, the Sleepwalker’s dreams, a vanishing star, the broken stain glass of the Crucified, scattered roses. This is an incantatory ritual dedicaced to Eric Bossé, a stunning boy sharped as an archangel with whom I spend a long period of my life. In my first films, his listless presence was irradiative. The fierceness of his troubles finally overcame in 1996 when he was 33.

Through the lyricism and the baroque energy of the famous Christmas oratorio, super-8 pictures with a prevailing black colour catch in a jerky way an elfic trio of merry male accompplices wandering through the Père Lachaise cemetery. Some sentences taken from ‘Le Dictionnaire de l’Amour’ by Dominique Noguez make their complicity clear and are used as a counterpoint to the ballet of their loitering.

A seraphic creature named Vyva - both Queen of Sheba, Moon Pythia, Spider-Woman and Mary Magdalene - offers kisses, caresses and jewelry to a man coming out of her dream box ... and who could be Jesus. Bewitching and sacred electroacoustic music, incantatory gestures, murmured texts, deliciously supersaturated decor of precious objects. Everything clicks, in visual and sound volutes, for an invitation to the Purple dream.

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.

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

In this film-manifesto, set to music by Berndt Deprez, Stéphane Marti condenses 35 years of creation. Placed under the sign of experimental cinema, as defined by its most brilliant historian Dominique Noguez, the excerpts of many films, re-articulated in a new continuity, constitute a real introduction to the baroque and sensual world of the filmmaker and a reflection on his practice. From Corpress (1975) to Purple kiss (2010), this film is also a celebration of encounters with its "actants", true moments of grace "engraved" on silver film (super 8 and slides) and digitally hybridized.