A found footage film about the war. A film which inscribed his refusal of the manipulation of the media coverage of the last holy war of the American and their allies. No image of that war which was also a media propagandist war. An evocation against the stupidity of war in seven parts.

This film considers the subject of HIV and AIDS from a variety of different viewpoints. On the one hand using textual material in both English and French which appears on screen at different speeds and rhythms, and on the other, articulated by the appearance of human voice on the sound track. It is a story of a person confronted with a civilization which promotes death as a way of life.

Film boundaries explore the garden geometry of the royal paths at Versailles, wandering among gilded statues and dry fountains. Nostalgia for bygone splendor is interrupted by a list of rules describing the married life of slaves. By confronting image and text, the film thus takes an abstract view of the disturbing anachronism of the distribution of power.

VO/ID juxtaposes two separate texts, one in French and the other in English. The texts question art and experimental cinema, the role of the market in shaping aesthetic criteria, and current politics... In each of the texts, words common to the other language appear, creating an indeterminacy of the word to this or that speech. This indeterminacy is increased by the many word games created between the two languages. This results in a double reading: vertical and horizontal, favoured by the word for word. The exposure time of each word depends on the rhythmic of each language, but their appearance in white or black is not subject to it. Faced with these texts, two sounds intervene and otherwise disturb the concentration required by the projected texts. The horizontal reading of both speeches is often in clear contradiction with their meaning. This third visual discourse is playful, brittle, mocking the seriousness of the discourse(s).

Rioting in different countries is confronted within the discourse of some politicians perpetuating the same old colonialisms and responses to a world they don’t understand any longer.

A film about my relationship to New York since 1962. It deals with the distance between a memory and the image of this memory, a distance one always tries to abolish. In this personal film we see the images of a city from a close distance, with autobiographic fragments on the soundtrack. The distance of recollection. The trace of this distance shapes the memory as much as the places, haunted by so many stories, so that our marks will blow up in a crash. A crash leading to a collapse in a vortex of affects.

A trip to Russia by two filmmakers in 1990, forms the bulk of this twin-screen projection, finished some 9 years later; Their super-8 footage mixed in with archival material (and a sprinkling of the classics such as Vertov and Eisenstein).

“How should we describe a work such as TU, SEMPRE by Yann Beauvais? Visually, it consists of roughly 40 minutes of videotext in movement and arrest, largely white text varying in size on a black background, interspersed with a small number of images; its audio is a dirge of drone music by Thomas Köner punctuated by voice-overs by several individuals, sometimes one at a time, sometimes several at once. Text appears in French, English and Italian and voice-overs are in French and English. It is a work of immense complexity and depth and this is but the beginning of a possible description.” –Keith Sanborn

“Reading Rimbaud today means to relate his experiences, his desires, to ours – it means that we see a strong connection between his quest and what is today at stake in gay issues. Selecting pieces of poems and letters I have tried to give back a kind of emergency that I sense within his poetry.” –Yann Beauvais

A Cinetract about a pandemic.