Collective stairway descent. Attempt to exhaust a Roman place.
From now on, memories exist, fleeting or tenacious, futile or heavy, but nothing brings them together. They are like this unbound writing, made up of isolated letters unable to weld together to form a word, which was mine until the age of seventeen or eighteen, or like these dissociated, dislocated drawings, whose scattered elements almost never managed to connect with each other.
Georges Perec, W or the memory of childhood, 1975.
The kaleidoscope, a figure made up of mirrored replications of the same image, offers a very “organic” vision of things. Like a visual metaphor for cell division, it opens up a realm of perceptions and emotions far beyond the mere decoration it might at first appear to embody. This figure, very rare in films, has always questioned me, which is why I’ve been exploring it in film for a long time.
It’s been a nice surprise to see animated kaleidoscopes flourishing on screens over the last four or five years, in film and series credits in particular. I invite you to read the manifesto text on the practice of animated kaleidoscopes, which I wrote ten years ago, in 2014: « Thinking about moving kaleidoscope image ».