Content linked to Dance

A film by Benoît Labourdette (2’24s, 2019, muet).

Why do we let ourselves be photographed?Based on photos of Mark Neville published in Le Monde “M”.

A film by Benoît Labourdette (2’04s, 2019).

How to turn the deepest jealousy into the most invested love?

A film by Benoît Labourdette (1’28s, silent, 2020).

Mise en abyme of the presence of human bodies as abstractions, through time, techniques and cultures.

Listen to the people around you and write down some of their words.

Workshop for the production of films for teenagers, then organization by young people of the itinerant screening of these films, within the framework of the Port Areas Film Festival (Saint-Nazaire - France). June 2017.This workshop was held (...)

To honor the animal, a slow dance, in the memory of falling.Instrumental music, 2017,2’51s. Improvisation of Benoît Labourdette (synthesizers).Improvisation realized in private on October (...)

A film by Sylviane Bertrand, Benoît Labourdette and Nordine Salhi (1’, silent, 2018).

Calligraphy of bodies, crossing a history of cinema, between black and white.

A film by Benoît Labourdette (3’27s, 2018).

Gather around a book, gather yourself.

Video installation in 4 screens : human body - vegetable sculptures - video (a project by Jean-Philippe Poirée-Ville, Maëlla-Mickaëlle Maréchal, Benoît Labourdette).Four circular screens, looping: The installation is visible online.Here it is in (...)

Collective film (4’32s, 2020)

When images and objects close to the body lead to shared collective memories of important moments.

Collective film (2’43s, 2018).

Objects rise.

Collective film (4’22s, 2019).

They lost, or they won, they testify atypically.

As part of the Festival of documentary films “The real in sight”, Image’ is, business education to the images in Lorraine, proposed on 18 November 2016 one day of training for professionals of the education to the image, that I’ve driven, titled (...)

A film by Benoît Labourdette (2’20s, 2009).

The correspondences between the rain, which burns the glasses, which prevents to see, and the denialist theses on the agenda of the media for a few moments, which are also ways to still not want to see. The real arises from this confrontation, (...)

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