’A scenario that gives, on reading, the sensation of the soundtrack of the film, will have a rare, extremely convincing evocative power. Physiological thinking of the scenarioA film is, physiologically, an object that addresses only two of our (...)

Two voices exchange, respond, listen, not always, and sometimes are in unison.Instrumental Music, 2017, 2’12s. Improvisation by Benoît Labourdette (piano).Improvisation carried out in private, September 6, 2017 (Benoît Labourdette (...)

Collective film (4’37s, 2019).

Intimate testimonials of objects that feel lonely or abandoned.

One morning, we decide to go on a picnic.Instrumental music, 2014, 1’07s. Improvisation by Benoît Labourdette (synthesizers).Improvisation carried out in private, November 14, 2017 (Benoît Labourdette (...)

A film by Sylviane Bertrand and Benoît Labourdette (1’, silent, 2018).

A simple painting can create controversy in a couple.

Collective film (10’06s, 2019).

The editing of the films, where tastes are confronted: watching together, dialoguing, choosing, arranging...

A film by Benoît Labourdette (9’54s, 2014).

A mystery of the act of painting, unveiled with Richard Texier.

Filmmaking workshop with mobile phone for teenagers in a library.On the occasion of its fifth anniversary, the Library Nelson Mandela in Angers wanted to offer a workshop on the theme “The Library and You”to make films with mobile phones for (...)

Collective film (3’02s, 2015).

Hands of humans from all over the world are talking through their tattoos, to music in a building by Le Corbusier.

I have always had a multidisciplinary way of working between artistic creation, diffusion and cultural engineering, management, pedagogy, technology. These different fields interact, complement each other, feed and are in my background very (...)

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 (...)