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NOS TRACES SILENCIEUSES

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  • Sunny Jo
    NOS TRACES SILENCIEUSES Unsere stummen Spuren Our silent Traces ... Sophie Bredier, Myriam Aziza Frankreich 1998 ... Produktion: Agat Films, INA, FEMIS, Paris
    Message 1 of 1 , Apr 4 5:07 AM
      NOS TRACES SILENCIEUSES
      Unsere stummen Spuren
      Our silent Traces
      --------------------------------------------------------------------------------

      Sophie Bredier,
      Myriam Aziza
      Frankreich 1998
      --------------------------------------------------------------------------------

      Produktion: Agat Films, INA, FEMIS, Paris Weltvertrieb: Doc & Co, 13 rue
      Portefoin, 75003 Paris
      Tel. (331) 42 77 56 87, Fax 42 72 64 82

      --------------------------------------------------------------------------------

      Buch: Sophie Bredier, Myriam Aziza Kamera: Cécile Grenier, Jean-Marc
      Bouzou
      Videokamera: Cécile Grenier, Myriam Aziza, Sophie Bredier
      Schnitt: Nadine Tarbouriech
      Ton: Sophie Laloy
      Chansons: Anne und Joséphine Li Sprache: Französisch

      Format: 16mm, Farbe Länge: 60 Minuten, 24 B/sek.

      Sophie, the co-director of this film, is 26 years old. She has slight
      scars from a burn on her skin. Because she was adopted at the age of
      four, these scars are of great significance for her: the only testimony
      of her past life in Korea. Sophie goes in search of her memories, guided
      by the traces on her body. In the course of meeting other people she
      begins to wonder about the significance of body marks for the memory of
      a human being. “Our Silent Traces by Sophie Bredier and Myriam Aziza is
      an intimate investigation and questioning of the body, a search for the
      origins of different marks on the body. The starting point for her own
      search are two scars on Sophie’s legs. She was adopted at the age of
      four. What happened in her life during the first four years? Sophie
      talks to her doctor about the fear of losing these traces, the only
      links which connect her to her past. Motivated by these first
      investigations the film begins to focus on other people. A unique bond
      develops between the protagonists on the basis of these body marks, even
      though each person’s scars are testimonies of a different, separate
      past. Bredier and Aziza not only look for the historical origins of each
      individual, they also look for history as such. There is the man, for
      example, with a mute but significant scar on his arm, who had the tattoo
      with the number 137572 removed but kept it, like the parched document of
      a lifetime. The memory of skin.” Clélia Cohen

      http://www.fdk-berlin.de/forum99/nos-traces.html
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