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ÉCU-The European Independent Film Festival


ÉCU - The European Independent Film Festival is dedicated to the discovery and advancement of the very best independent films from around the world. We are a festival who believes in our independent filmmakers and their artistic talents. ÉCU proudly provides a unique platform that brings together diverse audiences who are hungry for something other than major studio productions and original and innovative filmmakers. 

 
The 16th edition of ÉCU - The European Independent Film Festival will take place on 9th-11th April 2021. Now open for submissions!

 

 

 

For more details regarding the festival, please visit our website at www.ecufilmfestival.com

 

 


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Pierrick Sorin’s one-man show at 104

The exhibition of Nantes-born video artist Pierrick Sorin, currently
nestled in blacked out corners at Centquatre, is very much a one-man
sketch show. Practicing the method of autofilmage, Sorin often assumes
several roles simultaneously, with superimposition allowing for their
interaction. His characters are both comical and endearing, in scenarios
fictional yet relatable to real life. Though it may seem an
introspective technique, Sorin’s work looks into aspects related to the
general human condition, with each subject touched on – from our moments
of boredom, to creative struggles, and the conventions of TV reportage –
done so with a mocking irony.

He pokes fun at the everyday absurdities of life, and our strife to
fill the voids we all occasionally fall into during moments of ennui. At
their most slapstick, his shorts are comparable to scenes from Jacques
Tati films, and the one I went back to the most was ‘Pierrick et Jean Loup.’
Here Sorin incarnates the roles of twin brothers as they seek a relief
from Saturday-afternoon boredom, through such imaginative distractions
as a rudimentary, and messy, video game involving throwing eggs at
pre-prepared footage of themselves on the TV screen, to a musical
composition using household object instruments, involving sawing a
baguette and plucking a pair of underpants clamped between teeth ( – DIY
violins).

‘Quelques inventions remarquables,’ a piece of self-reportage of
Sorin’s installation in Lille during its 2004 stint as European Capital
of Culture, again addresses our need to keep ourselves entertained, this
time mocking the often banal nature of TV reporting. Sorin, as
‘himself,’ acts the part of dithering, hunched-over presenter –
mono-toned and mono-faced – reporting on one of his ‘théâtres optiques.’
With these small holographic scenes, that kind of look like Willy
Wonka’s Wonkavision, Sorin again plays with layering, here in terms of
projection as well as of multiple role-playing. Its illusions, such as a
teleporting machine gone wrong and transforming a person into a
vegetable, and elsewhere a miniature person running on a turntable (in
an installation for Chanel), have a senseless and disorientating effect,
and are consistently fascinating.

Sorin can often be found exploring the territories once inhabited by
early cinematographer Georges Méliès, with his theatricality and
exaggerated miming, his fascination with illusion, and his frequent use
of magical effects and silent cinema intertitles (most prominently in ‘C’était bien du coulis de tomate’).
Elsewhere he seems more ahead of his time; ‘Reveils,’ in which he films
his waking up every morning for a month, was created in the ‘80s, and
feels like a wittier, more involving predecessor of well-known
Youtube-generation videos like that one where that American guy takes a
picture of himself every day over a series of years.

With most films featuring only himself, Sorin is very much an
independent spirit, and his playful approach to filmmaking, often using
quite basic, homemade techniques, makes for an original and accessible
body of work. Sorin’s retrospective remains on show at 104 (Rue
d’Aubervilliers, 19e www.104.fr/)
until closing hours this Sunday evening (13th February), and a
celebratory evening will be held on Saturday from 7, combining the world
of Sorin with a DJ set to mark the end of the exhibition.

And, if you can’t make it to the exhibition, a selection of his work can be enjoyed online here.

 ///

Le one-man show de Pierrick Sorin au CENTQUATRE

L’exposition du réalisateur nantais Pierrick Sorin, qui se niche
actuellement dans les recoins obscurs du CENTQUATRE, a tous les aspects
d’un one-man-show sous forme de sketchs. En utilisant la méthode de l’
«autofilmage », Sorin incarne plusieurs personnages simultanément, dont
l’interaction est rendue possible grâce à la superposition. Ses
personnages sont à la fois cocasses et attendrissants, ils apparaissent
dans des scénarios relevant de la fiction mais toujours en lien avec la
vie réelle. Bien que cette technique semble introspective, le travail de
Sorin explore des aspects propres à la condition humaine en général et
touche à tous les sujets – de nos moments d’ennui à nos luttes
créatives, en passant par les conventions des reportages télévisés –
toujours avec une ironie railleuse.

Il se moque des absurdités quotidiennes de la vie, de notre lutte
pour combler le vide que nous ressentons tous parfois dans nos moments
d’ennui. Quand ils se rapprochent de la farce, ses court-métrages sont
comparables à certaines scènes des films de Jacques Tati, le plus
souvent ils m’ont évoqué « Pierrick et Jean-Loup ».
Ici Sorin incarne deux frères jumeaux cherchant à échapper à l’ennui
d’un samedi après-midi grâce à des distractions aussi imaginatives qu’un
jeu vidéo rudimentaire et quelque peu malpropre consistant à lancer des
œufs sur une séquence vidéo, enregistrée à l’avance, les représentant
sur l’écran de télévision, ou bien grâce à une composition musicale
utilisant les objets de la maison en guise d’instruments, et nécessitant
de scier une baguette et de coincer une paire de caleçons entre les
dents.

“Quelques inventions remarquables”, un travail d’auto-reportage vu à
l’exposition de Sorin à Lille en 2004 alors qu’elle était la Capitale
Européenne de la Culture. Il aborde à nouveau notre besoin d’être
constamment divertis, en se moquant cette fois de la nature souvent
banale des reportages télévisés. Sorin, jouant son propre rôle, prend la
posture d’un présentateur tergiversant, recroquevillé, au ton monocorde
et au visage inexpressif, alors qu’il réalise un reportage sur l’un de
ses « théâtres optiques ». Avec ces petites scènes holographiques, cette
sorte de ressemblance avec le Wonkavision de Willy Wonka, Sorin joue à
nouveau avec la superposition des couches, mais ici en termes de
projection autant que de multiplicité des rôles. Ses illusions, comme la
machine à téléporter qui tourne mal et transforme une personne en
légume, ou une personne miniature courant sur une plaque tournante (dans
une installation pour Chanel) ont un effet absurde et désorientant, et
sont toujours fascinantes.

On peut souvent trouver Sorin explorant les territoires habités
autrefois par le cinéaste de la première heure Georges Méliès, avec sa
théâtralité et ses mimiques exagérées, sa fascination pour l’illusion,
et son usage fréquent des effets magiques ainsi que des sous-titres
propres au cinéma muet (que l’on retrouve le plus souvent dans « C’était bien du coulis de tomate
»). Dans ses autres œuvres il semble plus en avance sur son temps ; «
Réveils », dans laquelle il se filme en train de se réveiller tous les
matins pendant un mois, a été créée dans les années 80 et semble
précéder, en plus spirituel et plus impliqué, les vidéos de la célèbre
génération Youtube, comme celle où cet Américain prend une photo de
lui-même chaque jour pendant plusieurs années.

Avec la plupart de ses films ne représentant que lui-même, Sorin est
un esprit indépendant, son approche joueuse de la réalisation qui
utilise souvent des techniques basiques et artisanales, permet de créer
une œuvre originale et accessible. La rétrospective de Sorin est en
prolongation au 104 (Rue d’Aubervillers, 19e www.104.fr)
jusqu’aux heures de fermeture ce dimanche soir (13 février) et une
soirée aura lieu samedi à partir de 19h, combinant le monde de Sorin
avec une platine de DJ pour marquer la fin de l’exposition.
Et si vous ne pouvez pas vous rendre à l’exposition, une sélection des œuvres de Sorin peut être vue sur Internet.

 

 

 

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About ÉCU-The European Independent Film Festival

Hillier Scott
(ECU)

 

 

Scott Hillier, Founder and President of ÉCU - The European Independent Film Festival
 
Scott Hillier is a director, cinematographer, and screenwriter, based in Paris, France. In the last 20 years, Hillier has gained international recognition from his strong and incredible cinematography, editing, writing, producing and directing portfolio in both the television and film industries.  
 
Scott began his career in the television industry in Australia. In 1988, he moved to London getting a job with the BBC who then set him to Baghdad. This opportunity led him to 10 years of traveling around world for the BBC, mainly in war zones like Somalia, Bosnia, Tchetcheynia, Kashmir, and Lebanon. After a near fatal encounter with a Russian bomber in Tchechnyia, Hillier gave up his war coverage and began in a new direction. 
 

He moved to New York City in 1998.  He directed and photographed eight one-hour documentaries for National Geographic and The Discovery Channel. Based on his war knowledge and experience, Hillier wrote and directed a short film titled, “Behind the Eyes of War!" The film was awarded “Best Short Dramatic Film” at the New York Independent Film and TV Festival in 1999. From that he served as Supervising Producer and Director for the critically acclaimed CBS 42 part reality series, "The Bravest” in 2002 and wrote and directed a stage play called, "Deadman’s Mai l," which ran at Le Théâtre du Moulin de la Galette in Paris during the summer of 2004. He then became the Director of Photography on a documentary titled, “Twin Towers." This was yet another life changing experience for Hillier. The riveting documentary won an Academy Award for "Best Documentary Short Subject" in 2003. In 2004, Hillier changed continents again, spending three months in Ethiopia. He produced “Worlds Apart,” a pilot for ABC America / True Entertainment / Endemol. As you can see, Hillier was and is always in constant movement and enjoys working in a number of diverse creative areas including documentaries, music videos, commercials, feature and short films.

 
Scott studied film at New York University and The London Film and Television School. He also studied literary non-fiction writing at Columbia University. Hillier's regular clients include the BBC, Microsoft, ABC, PBS and National Geographic. Between filming assignments, he used to teach film, a Masters Degree course in Screenwriting at the Eicar International Film School in Paris, France and journalism at the Formation des Journalistes Français in Paris, France. 
 

 


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