Il film sarà proiettato il 26 gennaio alle ore 17.00:
Zona Aromatica Protetta
Sala Riunioni 2°piano
Vicolo di Santa Maria Maggiore 1
Upside Down Revolution
One day, a man, condemned to crawl on the ground of a vast desert, finds himself face to face with a peculiar vertical mast, planted in the dirt. He approaches it and tries to cling to it. Rising slowly, he understands that this mast is perhaps his only way to escape the overwhelming gravity of his universe, and to soar to new horizons. But such an ascent is not without danger.
FLORENT MÉDINA, trained to movie making at the ENS Louis Lumière, directed several short films of very varied genres, all of which have been greeted in many festivals in France and internationally.
2013 – Audrey
2015 – Más y más
2016 – Eva
« Pole Dance is a discipline still unknown and with a sulphurous reputation. Yet, it is a rich and complex dance that drives us to rethink our relationship to the body and to the space. Because of its whirling nature, it is no longer possible to speak of “front”, “behind”, “right” or “left”. All the directions of space are confounded, and our usual benchmarks are no longer relevant. Only remains the body in its relationship to the pole.
Peculiar vertical line, bridge between the earth and the sky, the pole offers us to escape the gravity and projects us to an elsewhere. Vertiginous vector of movement, it propels us towards an almost infinite space around. Our gaze is thus invited to move around, to operate a revolution, literally (describe a circular movement) as figuratively (a change, a renewal).
How then to account for the mesmerizing wealth of this dance into a movie? How to give the spectator the chance to soar, and to see what the world looks like upside down? How, at the end of the day, manage to make a film of Pole Dancing rather than a film on Pole Dancing? For us, it was essential to think about dance and cinema together, to conceive choreographic writing and cinematographic writing in close correlation, to implement a fruitful back-and-forth between the cinema’s tools and the Pole Dancing’s possibilities. It is because of this particular collaboration that we like to talk about choréalisation. »