David Rodes

Film

“Still Life is above all a film, an allegory of the Big Crunch, one of the three rival theories of the end of the universe, the one closest to the eternal return.” Although it is not explicitly stated, it is very tempting to see the anthropomorphism of the Big Crunch as a fable about the impossibility of true union, of Love. Two persons are walking in a labyrinth of ruins, seeking each other, looking for a way out, the future, yet are going back into the past. The man and woman are filmed in distinct spaces, brought closer; the editing alone makes their movements related. The rhythm speeds up, individual rails join, She and He are now one. The final encounter will be more of a collision. Individual, gendered destiny, seen as a microscopic moment between two contractions of the universe. The impossibility of being oneself in relation to the other, the impossibility of loving.” By Bernard Faucon

David Rodes

Remerciements

Daniel Kunth, Randa Maroufi, Maral Pourmandan, Dorota Rodes, Olivier Tellier, Ahmed Terbaoui, Aurélie Wong et la ville de Borne Sulinowo en Pologne.