Durée : 5:45
Encombré de lettres démesurément grandes un homme s'efforce d'écrire le mot KINO. D'autres mots surgissent alors de sa mémoire. Alternant entre une attitude autiste et un monologue rempli de gestes maniaco-obsessionnels, cet homme raconte toutes sortes d'hallucinations morbides qu'il entretient dans ses rapports au langage, à l'espace et aux objets du quotidien. Face aux traumas de son histoire se met en place des mécanismes de défense qui tentent de faire le lien entre des choses qui semblent avoir perdu tout espace d'entente commun.
Aussi le film tente-t-il de mettre en avant, moins l'impossibilité étouffante à oublier que celle, plus vivante à se souvenir. Le film explorant les variations fabulatrices qui en découlent.
The film Kino Krov (in Russian: Cinema Blood) was inspired by The man with a shattered world by Alexander Luria. A Russian neurologist, Alexander Luria one day convinced one of his patients, who was otherwise incapable of expressing himself, to put down his trauma in writing. The patient did so in a collection of journal excerpts entitled I?ll fight on. Using this text as a starting point, the film creates the experience of having a pathological relationship with the world: everything is perceived to be in ruins and under the threat of a terrifying catastrophe.
Between autism and an interior monologue interspersed with gestures, a man, burdened with magnified letters, attempts to write the word KINO (cinema).
His thoughts stray between sound associations and word games: the letter K reminds him of the word KROV (blood) and the letters K-R-O-V read backwards reminds him of the middle of the word GOLOV-O-K-RJENIE (dizziness). Later his account is accompanied with morbid hallucinations which give us an insight into the concrete difficulties of his relation to everyday objects, to space and to his own body. Oppressed by uncontrollable defense mechanisms, he tries to reformulate that which seems, to him, to have lost all communicable meaning.
Referring back to the nature and the source of the account, the images inherited by the film are for the most part drawn from images taken from television documentaries about military conflicts in Russia, and more precisely military training camps for children. The teaching methods shown echo, amongst other things, to the efforts of the narrator to re-teach himself.
Lack of depth, play of surfaces and illusions of perspective - the drawings in question seem to reiterate the inherent instability of the narration :
they evoke the moment that a thought takes shape, drifts for a second, is fixed in a reality or, on the contrary, disappears.
(The drawings are a mixture of 2D and 3D techniques : the houses and the characters are made in 2D animation (frame by frame) but they have a thickness as if they are cut from a cardboard. When they are viewed from the front you see them completly. As the camera turns around, you no longer see their profile. You just see the edge of the cardboard. This effect gives you the feeling they disappear (and reappear when the camera turns further).
The sound is a combination of voice, field recordings (watergiver, rain and a train passing by), and different electroacoustic sounds and effects which underline the space and the actions happening: using metalic objects, jumping and falling on the ground, hearing from a window, coming into an empty room, coming into a deep tunnel, talking into a pipe or into a mask.
Marcel Türkowsky decides to work with raw and dry sounds in order to achive a homogenity with the sketched appearence and disapperence of the pictures. The fades, cuts and sudden boosts of the sound amplify the global tension of the movie.
Marcel Türkovsky, born in 1977, is a musician and sound artist, lives and works in Berlin.
Son : Marcel Türkowsky
Voix : Aleksiy Stypan
- 10èmes Rencontres internationales Paris/Berlin, novembre 2005, Cinéma l?Entrepôt, Paris
- Béton/Salon, exposition personnelle, Paris, du 15 décembre 2005 au 08 janvier 2006
- STORYLINES, exposition collective, Kunstverein de Göttingen, allemagne, du 15 janvier au 26 février 2006
- Internationale Kurzfilmtage, Oberhausen, mai 2006.
- Ars Electronica, Computer animation festival, Linz, Autriche, septembre 2006.
- Tindirindis, Vilnius, Lituanie, octobre 2006.
- Mention spéciale Fano International Film Festival, Bellocchi di Fano, Italie, octobre 2006.
- Traverse vidéo, Toulouse, mars 2011.
Matériel : PC
Techniques utilisées : dessins 2D, 3D, compositing...
Logiciels : 3ds Max 6, After Effects 6.5