On extended, boundless, vibratory and in-the-now sympathy music

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« Tout ce qui bouge sur un écran est du cinéma. » (Jean Renoir)


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mot-clés :


Artavadz Pelechian, The End, 1991




film en 35 mm, Noir et blanc, 8 min. - Images : Grigorian - Son : O. Poulissonov - Musique : J.S. Bach - Production : Studio Haïk.


The filmmaker works with his images as if they were a musical score. Around a central theme, he orchestrates variations and modulations that create an impression of a flood of private images arriving from beyond the frame. Pelechian is making a name for himself as a montage filmmaker who tends to inscribe in his works the movement of the world and history. His films are odes, even symphonies that speak about humanity, nature and the cosmos. Man is often seen contending with a strong, encompassing nature that guides, transports and protects him. Pelechian speaks to us about humility and our connection with time. Artavazd Pelechian has been practicing a method of film construction he refers to as «distance montage» since the 60s, in films using either found footage, Our Century or original material, The Seasons. In the early 90s, Pelechian made two spiritual films which are among his simplest and most beautiful productions: The End (1991) and Life (1992), Pelechian's first colour film. In The End, Pelechian transforms footage from a train ride into a metaphor for the shape of a life. Early images of faces on the train give way to landscape, a journey through a black tunnel, and a final emergence into pure white light.






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