Night road

A film by Benoît Labourdette (3’44s, 2013).
4 June 2013. Published by Benoît Labourdette.
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“Small child at the bottom of the back seat of the car, travel and night lights are not very real. With the help of tire, three minutes of travel on the street appear three long hours of contemplative abstract experiences.”

The making of this film, and the narrative system of inducing a dramatic situation only in the beginning titles, to leave film, and audience, free of all after, invite me to some reflections and proposals for a “free” cinema.

Thoughts on a free cinema

  • What freedom has the filmmaker to go far from canvas narrative?
  • What freedom has the viewer to overcome the same narrative framework, to move to a state of contemplation, purely sensory reception of the aesthetic object that it is offered ?
  • How can we break free from both sides of the shackles that reassures us, that gives us immediate gratification, to achieve another level of emotion, of perception ?
  • Film is a total art, which can collect all the arts, not just the dramatic theater.

Proposals (non-exhaustive) for free cinema

  • Making short movies, so that the viewer does not feel trapped in a form too disturbing with its habits.
  • Possibly induce, by a text in the header of the film, a narrative, which produces a narrative hook, whose function it is to serve as a support for a film that makes no concessions, as the underlay supporting the work of the painter.
  • Working the showing and contextualization to create favorable context of reception (see Stanley Kubrick’s requirement to monitor the quality of cinemas with the release of “2001 : A Space Odyssey”, 1968).
  • So disseminate films during extraordinary events (that out of the ordinary, so be harbingers of films of the same kind, as the usual film - narrative - are distributed in ordinary events (television, cinema, sharing on the internet).
  • Therefore, do not hesitate to make atypical cinema theaters, ephemera, adapted to different movies and inviting them to discover, so to appreciate.
  • Do not make concessions to the formal requirement in the production of the film, affirm a full difference with terms of the commercial movies (which, incidentally, also have meaning, but can not be the only referent for cinema).