Enter your email Address

Fest_25_carre_retina
Fest_25_carre_retina
Make a donation Press
Fest_25_new_retina
  • La Jetée

    Clermont-Ferrand

    • Documentation Center
    • Regular Events
    • Short film screenings
    • Training
    • Seminars
    • All Shorts
  • Short Film 31 JAN. > 8 FEB.

    Festival

    • Participate
      • Overview
      • Submit a film
      • Become a volunteer
      • Student Juries
      • Survival guide for newcomers
      • Professionals
      • Ticket Office
    • Discover more
      • Catalogues
      • Festival Newsletter
      • Prizes 2024
      • Le Trombino
      • Code of conduct
      • Our commitments
      • La Brasserie du court
    • Useful information
      • Coming to Clermont-Ferrand
      • Accomodation
      • Restaurants
      • Festival Locations
    • Archives
  • Short Film 3 > 6 FEB.

    Market

    • Overview
    • MEDIA Rendez-vous
    • Euro Connection
    • Shortfilmwire+
    • Participate
      • On site
      • Remotely
    • Pro Reception Desk
    • Prepare my visit
  • Short Film

    Circulation
    • Circuit Court
    • Screen festival programs
    • Plein Champ Network
    • Shortfilmdepot
  • Short Cuts

    Professionnalisation

    • Residences
    • Training
    • Support
    • Workshops
  • Education and

    Training
    • Upcoming events
    • Actions
      • Young audience screenings
      • Educational workshops
      • Anatomies
      • L’Atelier
      • Young critics competition
        • Young critics competition 2018
        • Young critics competition 2017
      • Ciné en herbe
    • Devices
      • Culture at the hospital
      • Culture in prison
      • Kindergarten at the cinema
      • High school at the cinema
      • Cinema sections
    • Training
      • Short Film Festival
      • Teaching cinema
      • School and cinema
      • Middle school at the cinema
      • High school at the cinema
      • Cinema sections
      • PREAC cinema
      • MIRE / ESPE
    • Resources
      • Educational tools
      • Transmission impossible
      • Le fil des images
      • Transmettre le cinéma
      • Ressources by film
      • Côté Court – LDVTV
        • Côté Court 2019
        • Côté Court 2018
        • Vu en court 2017
        • Vu en court 2016
        • Vu en court 2015
        • Vu en court 2014
        • Vu en court 2013
        • Vu en court 2012
  • Our newsletters
  • News
  • Archives
  • About us
  • Team
  • Partners
  • Advertisement

© Sauve qui peut le court métrage

Legal Mentions | Privacy

  • FR
  • EN
  • night cap with Les corps interdits (The Forbidden Bodies)

    14 February 2017
    Festival, Meeting with…
    By Clotilde Couturier
    • Corps interdits2

     

    Interview with Jérémie Reichenbach, director of Les corps interdits (The Forbidden Bodies)

     

    la mouche cf How did you gather the material that you used for the images? Did you take all the shots yourself? Why did you choose not to show all the voices we hear?
    The Jungle [the Calais Jungle refugee encampment – editor’s note] is a dangerous, sordid place that I find fascinating and revolting. For the inhabitants who’ve been living there – sometimes for months – the situation is dramatic. Some have experienced the horrors of war as well as a long, perilous journey in conditions that we’ve all heard about. They are traumatized, harassed by the police, they are ill, at the end of their tethers, huddled in this revolting place, they are then detained at Calais with no idea of their future. So the constant presence of journalists and peering cameras, whether held by journalists or activists, is simply one final act of aggression that strips them of what little they have left, the right to control how their image will be used. Their understandable hostility towards the slightest sign of a camera forced me to completely rethink the very act of filming. I was astounded and crushed by the feeling of powerlessness. Filming the people I met was absolutely out of the question; many of them had nearly nothing and yet they invited me to share that little with them. They were afraid that their images would be used against them if they ever managed to get to England; they were afraid that their families would see them in that situation or that their lives would be in danger if the authorities in their homeland recognized them. That is why there are no images of them. So I simply experimented a bit with exclusively audio recordings and, to my great surprise, they began to talk immediately and my microphone became a sort of loudspeaker for them, a way of telling the world about their feelings of revolt and injustice, and way for me to do the same. For my part, I felt I had to get back to basics, and I decided to experiment with silver halide photography and Super 8 film. And that was it, I was only going to film empty spaces and silhouettes, respecting their right to control their images. We don’t see those troublesome bodies, the denied and forbidden bodies. Then I returned for a second phase and worked in black and white to distance myself again from the immediacy of journalistic photography.

    la mouche cf Where do the drawings come from?
    The drawings were made by a young man of about twenty who lived in the Jungle. They tell of his journey (and that of so many others), as well as of the violence suffered by those who tried to make it through the Euro tunnel or the port in Calais.

    la mouche cf And what about the audio testimonies? How much did you keep of what you gathered? Are those real voices or were they played by actors from original recordings?
    I must have recorded some ten people. All of the voices are those of the people I met on site.

    la mouche cf How did you come about questioning human beings and their real or supposed animal nature? And what specifically interested you about the question?
    The question arose from what the exiled people whom I met said. The fact remains that, even if I hadn’t brought it up, the question is present in the testimonies of several people who had no connection to each other.

    la mouche cf Any cinematic coups de cœur in the past year you’d like to tell us about?
    It’s difficult to take stock of all the films I’ve seen, but one that definitely stands out is Embrace of the Serpent by Ciro Guerra. For me, that is close to a masterpiece of direction, the sublime images, and of narrative construction. But most of all for what the film says (about us and about what colonization is). I also really liked The Law of the Jungle, and I love Antonin Peretjatko’s fresh humor. Moreover, his films very subtly carry an important political subtext. Hats off to him!

    la mouche cf If you’ve already been to Clermont-Ferrand, could you share with us an anecdote from the festival? If not, what are your expectations for this year?
    No, I’ve never been. I have, however, twice had occasion to come to Clermont-Ferrand. I was invited by the documentary festival Traces de vie and I received a very generous welcome, even though they did not select my first feature-length documentary Sangre de mi sangre [Blood of My Blood]. Which, incidentally, represented a great deal more work than the short film they had selected, but I understand that the film was also considerably more disturbing since it contained a number of scenes that were filmed in a slaughterhouse. My expectations for the Festival? Well, I don’t expect anything in particular. I’m happy to be able to show my work here and even though the Calais Jungle has been demolished, the situation is far from settled and the film may help raise awareness about what exiled peoples experience from a point of view that differs from the usual one we see in the media.

    la mouche cf Are you taking part in any other events during the Clermont-Ferrand Short Film Festival (Espressos, conferences, other)?
    I have nothing against an espresso…

     

    Les corps interdits is being shown in National Competition F1.

    cinema, clermont-ferrand, court métrage
    Networks
    Recent posts
    • 2025 Panorama: geographical focus

      6 November 2024
    • 2025 panorama: Theme in focus

    • 2025 OST Challenge

    • Clermont-Ferrand Short Film Festival unveils 2025 poster

      19 September 2024
    • 23rd Lab Competition

      17 December 2023
    • 36th International Competition

    • 46th National Competition

    • 2024: A singular edition

      16 November 2023
    • Kickstarter x ClermontFF

      3 November 2023
    Blog
    Breakfast avec Sit and Watch (Assieds-toi et regarde)
    Short of the day: “L’exilé du temps”
    0
  • FR
  • EN
  • Ville de Clermont-Ferrand Département du Puy-de-Dôme Clermont Métropole CNC Ministère de la culture et de la communication Région Auvergne-Rhône-Alpes Europe Media
    All partners
    Clermont ISFF | night cap with Les corps interdits (The Forbidden Bodies) | Clermont ISFF
    class="post-template-default single single-post postid-29722 single-format-standard samba_theme samba_left_nav samba_left_align samba_responsive fl-builder-2-8-6-1 thvers_104 framework_99 wpb-js-composer js-comp-ver-7.7.2 vc_responsive"