In the early 1980s, Brocatella sang the praises of telematics to her friend Niño, who knew nothing about it. However, her work as an employee for the “Minitel rose”* bored her and failed to keep her mind off her ex, Electra. But perhaps love lies at the end of a click. Rose Minitel recounts in three days and seven songs the fantastic and tragic destiny of one of the first victims of those traps that telematics set for lonely hearts. This tragedy about solitude and its virtual assuaging through computer networks is recounted in my musical, which was performed in a studio with Minitels that were reconnected for the event, thanks to a media archaeology laboratory.
Born in 1988, Olivier Cheval studied at the Beaux-Arts de Paris, creating video installations there in 2015 centred on video-surveillance, war imagery and terror in the imagination. A former student of the École Normale Supérieure de Lyon, with a PhD in the aesthetics of cinema, he also writes regularly about film, the visual arts and cinema, notably for the periodical Trafic. He is also the author of the book Le Partage de la douleur. Une impolitique du film, published in November 2018 by De L’Incidence Éditeur. In 2018 and 2019, he shot his first two films at Le Fresnoy – Studio national des arts contemporains, Le Songe de Lady Hamilton and Rose Minitel.
