EDITING: FALSIFICATION/REVELATION

In partnership with the Périphérie association

If ever a film sought to capture the essence and anguish of the art of editing, it is Pedro Costa’s portrait of Jean-Marie Straub and Danièle Huillet, Où gît votre sourire enfoui? And in the incessant comings and goings of the filmmakers, we can perhaps glimpse the outlines of a mystique of the cut, of that gesture so violent and definitive, so trivial too, on which the balance of an edifice as fragile as a film rests.

Today, the editing bench has become a second-hand item. New technical solutions are offered by increasingly powerful computer software. In the space of fifteen years, from the last days of film editing, through analogue editing to digital solutions, the profession has been turned upside down. And it is already exposed to algorithmic technologies and the beginnings of artificial intelligence.

What new relationship to time does this change bring? What changes does it bring about in our understanding of a shot, an image, a connection or a sequence?
Editing has always been a place for making little arrangements with reality. So to what extent does contemporary technology have a more problematic capacity for falsification? Doesn’t it, on the contrary, allow us to assume and multiply the fundamental role of editing – that of making reality ever more intelligible, of revealing it?

This morning session brings together editors from different generations who, drawing on their practical experience, question the evolution of practice and thinking about the foundations of their art.

Moderated by: 
Teresa Faucon
— Lecturer – Université Sorbonne Nouvelle-Paris 3
author of Théorie du montage: Energie, forces et fluides (2013, Armand Colin) & Gestes contemporains du montage. Entre médium et performance (2017, Naima)

With: 

• Adrien Faucheux
  — editor (Un cœur perdu et autres rêves de Beyrouth de Maya Abdul-Malak, La terre du milieu de Juliette Guignard)
• Charlotte Cherici
  — filmmaker (Bac à Sable), editor (Koban Louzoù de Brieuc Schieb, Kindertotenlieder Sapphire Crystal & Sophia Antipolis de Virgil Vernier)
• Gilles Volta
  — editor (Les Graines que l’on sème de Nathan Nicholovitch, L’Hypothèse démocratique de Thomas Lacoste, Je me suis embarquée dans un vaisseau qui danse de Daisy Lamothe, Yvon de Marie Tavernier, Suite Armoricaine de Pascale Breton, etc.)
• Clémence Diard
  – filmmaker (L’Amie d’Amélie), editor (Trois contes de Borges de Maxime Martinot, À mon seul désir de Lucie Borleteau, Dirty Difficult Dangerous de Wissam Charaf, etc.)