Sylvain George – Paris est une fête – Un film en 18 vagues (2017)


Un film poème en 18 vagues, comme autant de scènes pour décrire Paris et ses paysages urbains traversés par un “jeune mineur étranger isolé”, les attentats, les roses blanches, l’état d’urgence, le bleu-blanc-rouge, l’océan atlantique et ses traversées, les volcans, la beat-box, la révolte, la colère, la violence d’Etat, un chant révolutionnaire, le silence, et la joie…, rien que la joie. Continue reading Sylvain George – Paris est une fête – Un film en 18 vagues (2017)

Sylvain George – Vers Madrid (The Burning Bright!) (2013)

The indignados movement, known also as 15M, represents a unique phenomenon for our times: a transversal, transnational, transhistorical. It has brought back concepts and ideas that seemed to have been forgotten. This film is a journalistic period piece updated on the years of the international crisis, through the protesters’ voices, slogans, chants, where the only solution to the crumbling Spanish economy seems to be class warfare. – Festival Scope

With VERS MADRID Sylvain George makes a “newsreel” with the cinematic experiments in mind conducted by the likes of for example Robert Kramer, Jean-Luc Godard during the seventies. A newsreel which presents views, scenes, political moments of class struggle and revolution in Madrid in 2011, 2012, 2013. As a “newsreel experimental”, the film tries to present political and poetical experiments, but also shows new forms of life, implemented by generations which have remained too long in silence. Past and future meet in the present at Place Puerta del Sol, where they are constantly reinvented. —Joana Ribelle Continue reading Sylvain George – Vers Madrid (The Burning Bright!) (2013)

Sylvain George – Qu’ils reposent en révolte (Des figures de guerre) (2010)

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Text from Diagonal Thoughts

“Before being a conflict of classes or parties, politics is a conflict concerning the configuration of the sensible world in which the actors and the objects of these conflicts may appear. Politics is then this exceptional practice, which makes visible that which cannot be seen, which makes audible that which cannot be heard, which counts that which cannot be counted.”
– Jacques Rancière

It is not just a matter of “making political films”, but also of “making films politically”. With this dictum Jean-Luc Godard articulated a longstanding tension between politics and cinema. What is considered as problematical here has to do with the position from which one speaks, with speaking and letting speak, and with the medium that conveys it. Most of all, it has to do with the relations – social, cultural, economical – between people, in front and behind the camera, filming and being filmed, viewing and being viewed. Making cinema in a “political” way can never be about “subjecting” or “identification”, but should rather be about “subjectivation”. Likewise it’s never simply about delivering a “message”, but always about shaping new forms of visibility. One recent, powerful film that has the notion of the political at its very heart is Sylvain George’s Qu’ils reposent en révolte (des figures de guerre). Continue reading Sylvain George – Qu’ils reposent en révolte (Des figures de guerre) (2010)