The Master’s Tools

Amid a ballet of vehicles perceived both as instruments of repression and as objects of fascination charged and rebellious bodies coexist. While some dancers engage in the jerky movements of hard-dances popularized on YouTube, others cluster together in order to resist an order to disperse. Nearby, a vandalized limousine becomes the center of a timeless “kissing contest.”

Around this new Raft of the Medusa, a choreography of street-cleaning machines erases the slogan “Tomorrow is cancelled,” sprayed on the ground just moments before. The camera keeps rolling, and it becomes impossible to tell which side of the screen we are on whether we are at the heart of a protest or witnessing its representation.

A way of showing that the same societal questions return in an endless cycle, and that the continuous loop of revolt prompts us to question its true power for change.

Credits

CONCEPTION, CHORÉGRAPHIE
(LA)HORDE
Avec les jumpers de leur pièce To Da Bone et l’ensemble du Ballet national de Marseille
PRODUCTION
(LA)HORDE
CURATION
Charlotte Laubard assistée par Elsa Vettier
INSTALLATION
PRODUCTION INSTALLATION
Eva Albarran, Léa Canferre, Margaux Illescas
FILM
RÉALISATION
(LA)HORDE
PRODUCTEURS
Nérimen Hadrami avec Hirvi & Frenzy Picture
PRODUCTRICE
Pauline Attal
PRODUCTEUR
Tom Burande
CHEFFE OPÉRATRICE
Cystel Fournier
ASSISTANTE
Héloïse Lesimple
1er ASSISTANT CAMÉRA
Pierre Assenat
2e ASSISTANT CAMÉRA
Clarence Malaper
CHEF MACHINO
Jérémie Leloup
CHEFFE ÉLECTRO
Muriel Olivier
ÉLECTRO
Simon Legeay, Arnaud Grison
RENFORT ÉLECTRO
Alice Bencteux
STEADYCAMER
Sacha Naceri
CHEFS OPÉRATEURS
Yohanne Henry, Paul Kusnierek
MONTAGE
Edouard Mailaender
SON
Boe Strummer
COSTUMES
Lily Satine & Morgane Denzler assistée par Julia Moroge & Lydail Bailly
DÉCORS
Lucie Beauvert
AVEC LE SOUTIEN
la Cité internationale des arts Fenwick-Linde
La Gaîté Lyrique
Maison des Arts Créteil
MAC Cosmetics France
Adidas
Le Relais
TSF
Fondation BNP-Paribas et Sides

Avec la participation de la SNCF.