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

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Audrius Stonys, Skrydis per Lietuvą arba 510 sekundžių tylos (The Flight over Lithuania or 510 Seconds of Silence), 2000


Flight over Lithuania is a legendary film by A. Stonys and A. Matelis, which won honors as No. 4 of the Top 10 at the international exhibition EXPO 2000 in Hanover, Germany as one of the best films, demonstrated at the exhibition.

The film features an incredibly low angel's flight over the dunes of Nida, Trakai castle, the lakes of Aukstaitija (Highlands), the roofs of the Old Town of Vilnius and the fantastically beautiful church steeples. It's like a mystical gliding just above the treetops, meadows covered by early morning mist, as well as the narrow streets of Vilnius.

The film has combined a real sense of flying, modern technologies and classic poetic documentary. When filming "Flight over Lithuania" a very sophisticated shooting technique was applied, and probably for the first time in cinema history, a complex new-generation sound system was used, where sound is transmitted not only in a usual Dolby surround, but also from the above and below.

On the Photographic, par Éric Vidal


The films by the Lithuanian Audrius Stonys and the Russian Sergei Loznitsa remind us how inextricably cinema remains tied to photography. Freeze frame, title bench, framing, fragmentation, shot angle, depth perspectives etc., the “photographic” continuously works on moving images through different means of representation and various esthetic registers.

Shown for the first time at Lussas, Audrius Stonys' short films are positioned at the edge of freeze frames. Close ups, the delicacy of black and white, extreme fragmentation, chromatic variations, highly individual shooting styles and different scales of view geometrically transform space. These films owe as much to the photography of fine arts as to aerial or documentary photography. Whether it's a matter of recording a child's solitude (Alone), imprinting on film the strange metamorphoses of the bodies of aquatic beasts (Harbour) or even of following the mysterious launchings and landings of a man-bird (Flying over the Blue Sky), Stonys through his esthetic and narrative choices (no specific story to hang on to) distinguishes his work from that of any social documentary. Floating, sometimes undefined, his images displace visual markers to create poetic and sensual spaces sublimated via the songs of Purcell or the music of Handel.

Du photographique, par Éric Vidal


Les films du Lituanien Audrius Stonys et du Russe Sergei Loznitsa nous rappellent combien le cinéma reste inextricablement lié à la photographie. Arrêt sur image, banc-titrage, composition du cadre, fragmentation, angle de prise de vue, découpe, etc., le « photographique » ne cesse en effet de travailler les images mouvements selon des modes de représentation et des registres esthétiques différents.

Présentés pour la première fois à Lussas, les courts métrages d’Audrius Stonys se situent au bord des images arrêtées. Gros plans, délicatesse du noir et blanc, extrême fragmentation, jeux chromatiques, prises de vues inédites et rapports d’échelles géométrisant l’espace, ses films sont autant redevables de la photographie plasticienne que de la photographie documentaire ou aérienne. Qu’il s’agisse, par exemple, d’enregistrer la solitude d’un enfant (Alone), d’imprimer sur la pellicule l’étrange métamorphose des corps en bêtes aquatiques (Harbour) ou encore de suivre les mystérieux envols et atterrissages d’un homme-oiseau (Flying over the Blue Sky), Stonys, par ses choix formels et narratifs (pas de récits spécifiques auxquels se raccrocher), se démarque de tout documentaire social. Flottantes, parfois indéterminées, brouillant repères visuels et perspectives, ses images, notamment celles des visages et des corps modelés par la lumière, s’offrent au regard comme des « surfaces poétiques » portées par l’intensité lyrique du chant de Purcell ou la musique de Händel.

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