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Patrice Kirchhofer described himself as "Filmmaker, musician, painter, author, organizer of conferences". And he was much more than that.
In the 1970s, Patrice Kirchhofer became a world-level, seminal figure of experimental film. By 1981, he had directed nearly two dozen films and was a major filmmaker, an important name in the world of independent cinema.
In 1973 he joined the Collectif Jeune Cinéma and later founded the magazine "Cinéma Différent". In 1976 he incites a division in order to create the Coopérative des Cinéastes, followed by the KMP group, a more restrained circle of colleagues dedicated to the creation and distribution of films, which produced the "Grey Report" on the notorious meetings organized by the CNC in Lyon, Avignon and Paris. Because, for him, the ideal cinema cooperative would imply sharing the means of production and assuming the entire chain of film fabrication, all the way to distribution, a vision that was far from the concerns of the other independent film groups in France at the time. He ended up relegating his films to storage, no longer making any effort to show them, becoming interested instead in other fields that inspired him: mathematics, topography, language and psychoanalysis... As if he had taken time for a new experiment, his research ended up nurturing his film work. Trying new forms, easily casting aside unfinished works, to take up again later, or not. This is part of the work.
Once he saw that he could get involved again, in a positive way, in the cinematic movement to which he aspired, he became a particularly active member of Light Cone in 2016 and had, from then on, a seat on the Board of Directors. He perfected his technique in our post-production space Atelier 105, found again the majority of his films in order to restore and rework them, as well as to better preserve his negatives, since he now had the time and the opportunity. He was in the middle of arranging his personal archives and despaired at the amount of work.
For Patrice Kirchhofer never stopped producing, writing, photographing, filming... it had become important to arrange everything in order to take stock and start again.
The film broke too soon. Gisèle Rapp-Meichler, 29/08/2019
Tribute texts:
by Gisele Rapp-Meichler
by Nicole Brenez
by Bernard Weidmann
by Raphaël Minnesota
Cette séance présente des premiers films de séries réalisées dans les années 70, trois films restés uniques « Rémanence I », « Hors Titre I » et « Ataraxie I ». La numérotation pourtant laissait prévoir une suite.
« Sensitométrie VI » qui sera projeté dans la salle de réception est un « essai de film » tourné en 1970, à 17 ans. Quasiment son premier film. Malicieux, il titrait les films en fonction de leur place dans la série ou de leur ordre de finition: « Sensitométrie II » (1973-74) est qualifié de « Premier film » et « Sensitométrie I » est le premier film de la série, un dessin animé de 1973.
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SENSITOMÉTRIE I
by Patrice KIRCHHOFER 1973 / 16mm / color / sound / 3' 17 |
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CHROMATICITÉ I
by Patrice KIRCHHOFER 1977 / 16mm / color / sound / 11' 25 |
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DENSITÉ OPTIQUE I
by Patrice KIRCHHOFER 1977 / 16mm / color / sound / 22' 38 |
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ATARAXIE I
by Patrice KIRCHHOFER 1977 / 16mm / color / silent / 3' 00 / double écran |
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RÉMANENCE I
by Patrice KIRCHHOFER 1978 / 16mm / b&w / silent / 5' 10 |
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ANOREXIE I
by Patrice KIRCHHOFER 1979 / 16mm / b&w / silent / 2' 12 |
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HORS TITRE I
by Patrice KIRCHHOFER 1981 / 16mm / b&w / silent / 12' 00 |
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SENSITOMÉTRIE VI
by Patrice KIRCHHOFER 1970-1976 / 16mm / color / sound / 20' 00 |
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full rate: 9.50 € reduced rate: 7.50 € CIP rate: 5.00 € card Luminor 5 screenings: 31.00 € card Luminor 10 screenings: 54.00 € cards accepted: CIP, UGC Illimité, CinéPass, CICAE, CNC, Europa Cinéma, SACEM, Presse, carte permanente Luminor |