Marylène Negro
약력
Marylène Negro’s works often bring about a face to face, either two solitudes or two creatures so totally different that nothing but their physical position can point to a relation between them. More often, what one sees is a sound or visual representation that the film contemplates, not to understand it but to represent it from its limitlessness, until it provokes a sweet vertigo. For Marylène Negro, the image represents an area of intercession that defuses the potential violence of a meeting, keeping only the qualities of attention, vigor and benevolence, prerequisites to a possible exchange. The image enables apprehension without prehension. (Nicole Brenez)
Director
Director
Director
Director
Director
"I stand by your side. It looks like time has stopped."
Director
From photo to photo, from passage to passage, a navigation powered by a bewitching soundtrack that slowly reveals the soul of this Indian city.
Director
Silhouettes appears and disappears on the ganges in Benares (India), a city strongly linked with spirits, time and death.
Director
Director
It is the revelation, by a letter to Jacques Tourneur, of the face which crosses all his work and gives herself as a feminine, timeless icon.
Director
Director
Director
Director
Director
« A black, metaphysical hole around the face of Mary Magdalene which shifts Freudian psychoanalytical discourse towards the artist’s investigative practice, dualistic between the tenebrous and the (ultimate) radiance of light between the humanity in the filmed face and the eternal divinity of sculpture. » (Matthieu Orléan)
Director
In 2010 with the full-length film X+, Marylène Negro takes up a new dimension of human experience : the collectivity. "A Picture of Us". What are the aggregating forces that bring forth this drive - brusque or slow, woven from facts, simplifications and resonances that we can call, always approximately, collective history ? The cinema relentlessly records silhouettes, groups, crowds, masses - fleeting passers-by of a period they are going through, tiny extras of a zeitgeist that carries them along. X+ explores the visual and sound forms of presence thanks to which persist or dissolve the argentic traces of these innumerable figures whose existence forms the tissue of humanity and whose mingled gestures - noticed or unnoticed, make up the supposed "collective" substratum of collective history. X+ attains the very principle of figurativity. (Nicole Brenez)
Director
Director
Director
Director
The view of a lighthouse at dawn, subjected to a millimetric shift that is even less perceptible as movements of the text in the image are added to it. The specificity of these movements on the image comes from the way they penetrate into the image, creating a strange enlarged presence of the bodies, images, signs that brings about the dematerialization of the identity of each. Entering the Real means losing the world of objects and subjects, the world of opposition between reality and illusion in favor of a world where the most tangible effects of existence are constructed from traces and ghosts. (Jehanne Dautrey)
Director
A Whiter Shade consists of many flash shots of a single black and white photographic print. In a mode of chronological appearance, the still images at the limit of abstraction come to life in a slow continuous and hallucinatory movement. The soundtrack, slowed of a music of the same name, is united to the white hypnosis.
Director
Director
Director
Director
Director
Director
Director
The film begins to move and a voice says: "Ich sterbe", then : "Je meurs" ("I'm dying"). A movie is said to move when the moves through the projection mechanism. Life is said to move on; there's also moving on for expiring in the sense of dying. A brief and interminable text, said by Chekhov and written by Sarraute, that Negro returns to us on an amnesiac image. This tale goes from Chekhov to Sarraute to Negro up to where we are - a body, before a page, a screen, a face. It's interminable. (Marie Muracciole)
Director
A whimsical dance of jetés and arabesques movement is an older principe than the humid and blinks in a wild tempo that could last indefinitely and yet it stops at 4 minutes and 55 seconds. It is a series of snapshots, flashes without light that record all the times, the present ticks by and the seasons pass by in fast motion while the tree rids itself inside a round of fog, whether leafy and abounding in branches and ramified leaves or on the other hand light and loose. (Suzanne Doppelt)
Director
Director
Director
Director
"In the grey full of illusions and alarms, in the confusion, they scatter. Anna is called and undoubtedly those who say this palindromic name out loud conjure up a face, a shoulder. They are singing lullabies of days gone by." (Gaelle Obiégly)
Director
« Given a "spot of nature", a wood, undergrowth and what happens there : nothing, perhaps, but existence, but that is the whole point, and how to grasp it ? » (Jean-Christophe Bailly)
Director
Director
Director
The emergence of a group. Lighted figures, turned to a light off immediately.
Director
A road or a road that leads zero. Through a landscape in a permanent transformation, inexhaustible, unattainable. Deça, further, Elvis ahead at the turn.
Director
