In Trama, Lebrat divides a surface vertically to be filmed in six equal segments of color (yellow, red, blue, green, violet, orange). The composition stays exactly the same all the way through the film. The filmmaker puts a band on the side of every two or three frames. Constructed step-by-step, using ten bands, the optical mixture of color induces strange pulsating effects. With Holon (1981-1982), the filmmaker obtains a very intense conjugation of colors. He creates a totally self-sufficient coherent system functioning in vitro. Here, nine perforated ribbons form a kind of machine varying shades of pigmentation or colors, spaces, speed and rhythms, able to cross one another infinitely by parthenogenesis. If Trama shows the vertical position of the band so as to “explode the screen from the interior,” as the filmmaker says, Holon, in turn, transforms the film into a real vibration of colors. (Raphaël Bassan, “Cinema and abstraction: from Bruno Corra to Hugo Verlinde”, Senses of cinema, issue 61, December 2011)
Color, then, is no longer tint nor tone; it becomes heat, breath, indisputable mirage; cinema is no longer representational but thermodynamic... With the invention of a purely kinetic chromaticism, the film image returns to its paradoxical substance, attains its full material manifestation. Nicole Brenez (« Couleur critique : expériences chromatiques dans le cinéma contemporain », in Couleur critique, Paris, 1995)
1 PRINT IN DISTRIBUTION
|
distribution format |
16mm |
|
screen |
1,37 - Standard (single screen) |
|
speed |
24 fps |
|
sound |
optical sound |
|
rental fee |
64,00 € |
