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- You are here: Home > MINDSTREAM
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Online -
Friday, November 27, 2020 - 19:00
Written by:
Perrine Prost & Ismaël Joffroy Chandoutis
Cinematography:
Ismaël Joffroy Chandoutis, Pierre De Wurstemberger
Editing:
Maël Delorme, Marianna Romano & Ismaël Joffroy Chandoutis
Sound:
Martin Delzescaux, Lucas Masson
Music:
Sergio Baietta
Animation:
Maël Delorme, Léon Denise, William Houel & Ismaël Joffroy Chandoutis
Producer:
Pauline Seigland, Lionel Massol, Maxence Voiseux
Production:
FILMS GRAND HUIT, LES FILMS A VIF
ISMAËL JOFFROY CHANDOUTIS returns to BIEFF with another profound film, which puts forward the proposition of possibly recovering one’s memory through images. MINDSTREAM brings together mediums that are both different and chaotic, asking them to reconstruct a terrible event: a bomb attack on the subway. Sabine is one of the people who survive the attack and her memory is dressed in pixels, in found footage, and defragmented reconstructions of the spaces she was in, but that she can’t seem to remember. The issue with the image-document becomes clear at the moment when Sabine doesn’t seem to recognize that past as her own, and these recordings become simple carcasses for an inexistent and traumatic past. (Emil Vasilache - BIEFF 2020)
Director:
Born in France in 1988, ISMAËL JOFFROY CHANDOUTIS has studied editing at INSAS in Belgium, and filmmaking at Sint-Lukas Art School (Belgium) and at Le Fresnoy in France. His directorial debut was ONDES NOIRES (2018) which has been shown in many international festivals, such as the IDFA, the Clermont-Ferrand Short Film Festival, where he won Prix Festivals Connexion Auvergne Rhône Alpes, or Regensburg Short Film Festival, where he won the Grand Prix and the Youth Jury Prize. He explores a cinema beyond the boundaries of genres. His films question memory, virtual, technology, and the intermediate spaces between the worlds and between the words.
Contact:
Wouter Jansen
Festivals, awards:
Semaine de la Critique Official Selection, Cannes 2020
“MINDSTREAM enters the fragmentary memory of Sabine, a woman seriously injured in the 2016 Brussels metro attacks and suffering from amnesia. The search for the missing image gradually leads her to the spectral scenes of the images, metaphors for the sensation of foggy memory. The director tries to reinvent cinema by dissecting the image beyond the visible. In his creations, which take the form of testimonies of our society exposed to the beginnings of a new technological humanity, the plastic universe, close to the “valley of the strange”, questions our interiority and its possible future in a world governed by the flow of images.” (Julie Chaizemartin, Art Press 2020)