Content linked to Red

A film by Benoît Labourdette (2’21s, 2019).

When an architecture made of glass reveals its intrinsic abstraction.

Collective film (6’15s, 2020)

Like a little story of writing and looking, from paper to screens.

Collective film (3’19s, 2018).

The little object people of a building courtyard.

Video Creation by Benoît Labourdette (2’17s, 2014).

Enter somewhere. Not so simple...

A film by Benoît Labourdette (2’12s, 2018).

We’re all taking the same stairs. We meet each other there, every morning and every evening. We’re pretending nothing.

A film by Benoît Labourdette (2’18s, 2017).

Diving inside the organic movement of the wind maybe.

Collective film (4’22s, 2019).

They lost, or they won, they testify atypically.

A film by Benoît Labourdette (2’42s, 2018).

Work, potential factor of emancipation that can carry in itself its own reversal.

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

Gather around a book, gather yourself.

Collective film (3’38s, 2016).

What if the books spoke?

Film by Benoît Labourdette (2’21s, 2010).

Blood on the hands... who can pretend not to have some, even indirectly?

A film by Benoît Labourdette (1’24s, silent, 2018).

Musical and pictorial exchanges of looks, faces, sexes, bodies, times...

A film by Benoît Labourdette (53s, silent, 2017, pseudonym: Stéphane G.).

“No one shall be disturbed for his opinions, even religious ones, provided their manifestation does not disturb the public order established by law.”

Revisit the principles of four-colour printing, with inks and ashes. Fifteen “numerical paintings”. Mechanical colour reproduction does not use the same primary colours as in painting. There are only three: Red, Green and Blue. On computer (...)

A film by Benoît Labourdette (2’09s, 2010).

Let’s imagine for a moment that the sky is red...

The projected image is an extremely rich track to animate architecture, private or public space, the theatre stage. I have been experimenting with it for a long time in the field of live performance as well as in public space. For life to be (...)

Scrivener is probably today the best software to write a script. Synthetic discovery of this tool. Why a specific software to write a screenplay? Why would we need specific software to write a script? Don’t we just need a pen or a word (...)

Because of the mechanical nature of its technical function, photography is for me a matter of time rather than a visual matter : in its silver salts, or its pixels today, it is time which is captured, preserved, reinvented at every glance. Time (...)

Workshops related to images, cinema, photography, animated films, but also writing, offered at cultural events to “passing” people. How to propose a requirement of creative quality, even in a very short (...)

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