Shoe

Video creation by Benoît Labourdette (3’50s, 2013).

What is architecture, what is a place, how do you envisage ?

Collective film (3’10s, 2019).

A revolt of objects against the Internet and its uses.

Collective film (5’49s, 2018).

Anthropomorphic introspections at school.

A film by Benoît Labourdette (3’52s, 2018). Based on an interview with Yves Bonnefoy by Auxilio Alcantar.

To the question “What is poetry?”, the poet Yves Bonnefoy gives an answer that concerns the essential, in terms of philosophy.

Collective film (4’22s, 2019).

They lost, or they won, they testify atypically.

Collective film (2’00s, 2019).

Lost in the City of Science and Industry, objects share their questions about their relationship to images.

A film by Benoît Labourdette (1’40s, silent, 2018).

Words and looks cross paths, not believing what they see.

Collective film (5’52s, 2014).

The unexpected little people of a movie theater.

Film collectif (3’11s, 2019).

Teenage objects share their various dreams.

Collective film (2’54s, 2019).

When objects from a carving workshop wake up...

Collective film (5’28s, 2020).

When talking objects teach us that digital can create human connection.

Collective film (2’55s, 2020).

When objects share their experience of deconfinement..

Collective film (4’32s, 2020)

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

Collective film (3’04s, 2020).

The image of oneself, the images of others, which are projected on each other..

Collective film (4’41s, 2014).

Abandoned on the ground, these objects wonder about their lives.

Collective film (1’51s, 2017).

Objects foment their future freedom.

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

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

Pedagogical structure of a workshop.

Violence, and especially “gratuitous” violence, with no obvious explanation and operated by young people who are a priori not concerned, is a fairly central contemporary prevention topic. Based on field experience and professional training that I (...)

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