Guy-Marc Hinant EN


Black Box #002

Guy Marc Hinant (BE)
(digital projection)

A complex movie making during an extended period of time takes several years of your life : the process seems inevitable. But another exploration is possible : trying to capture an impulse in its immediacy, a furtive moment, in which one might know how to do. It means you have to do it fast enough, because all the elements are getting connected during a certain amount of days and the movie has to be produced in that emergency. This is the way these five movies shown here were realized. (GMH) 

Qu’adviendra-t-il de nous ? (2014 - 14 min)

These are the very first words heard in my movie Birobidjan, le nid est tombé dans les flammes, derived from a yiddish poem. Shot in black and white super 8mm footage, developed by Sébastien Koeppel before he tragically passed away. Pictures were filmed in Far-East Russia, in my apartment in Brussels and its surrounding parks, and in the countryside around Charleroi. You can briefly perceive my closest relatives. Soundtracked with a piece written by Thanasis Kaproulias (Novi_sad).

La sonde (1996 - 5 min)

People keeping their children crafts in the cellar know that sometime they’ll have to get rid of these. When the moisture crept in the toys, the teddy bears, I felt the urge to film them before throwing them in the bin. In the movie the heart cutter (carver ?) is my father, as he was a few months before his death. A self-hypnosis going wrong.
Told by Gabriel Séverin. 

Autodafé 1949 (2012 - 14 min)

Shot in Birobidzhan oblast in Russia in November 2011, looking for locations for the eponymous movie released in 2015. Presentation of a few books saved from the autodafé intended by Staline in 1949. Poems, Talmud, prayer books, all that remains. Fragment of a musical piece from CM von Hausswolff.

Things come out sometime - A visit to Tod Dockstader (2006-09 - 12 min)

Shaped as a spontaneously filmed family meeting, in the way Mekas did when he visited the Brakhage’s. We’re leaving New York to Westport by train to meet the composer Tod Dockstader. He’s taking us for a ride in his ancient yellow Volkswagen to a beach, where we’ll find silica embedded rocks. The way back is pretty much the same. In the presence of Dominique Goblet. Some words are emerging from Aerial, a four hour piece he was composing then.  

Sous le sceau du silence (1999 - 5 min)

Driving under the rain for a long time, exploring dead flowers, capturing one sparkle of the dusk. Almost nothing for real, and no action. The soundtrack was composed with excerpts from anonymous 78 rpm records, in which you can listen to unknown pieces played on the ondium Martenot.