Black screen during the prologue: a voice, that of a man, talks about himself. The story, at first individual, develops, continues by digressions in a monologue embracing in its stream a mythology centered on being Black today in the U.S.A. The words enter into dialogue, alternating, schizophrenic, from the "you" written on a title card on the screen to the "I" expressed by the voice-over. Elise Florenty, whose beautiful film Gennariello Due Volte (2009 FID competition) we still remember, is this time with a new accomplice, Marcel Türkowsky. Both make explicit at the beginning of the film what their project will be: from oneself to the other, it's a matter here of passages and exchanges, of porosities between spoken word and active listening, of faces and places. Second sequence. We are somewhere in the South, nourished by the world of Faulkner (evoked in the credits), not far from the regions of the imaginary county of Yoknapatawpha, where most of Faulkner's novels take place. It would be fruitless to try to reconstruct such a story here. The film sweeps us along in a flood of physical feelings, of strange landscapes and the sequences fit together, distributing apparitions and disappearances according to an organic mode, in a perpetual dissolve. All the images, all the sounds prove to be haunted, by history, by nature, by literature too. It is the fabric of a fluidity where imaginary and real cannot be distinguished, in sight of an ode to the world as the title indicates, borrowed from Allen Ginsburg's poem "Footnote to Howl."

Jean-Pierre Rehm (FIDMARSEILLE 2011)

Dirs: Elise Florenty and Marcel Türkowsky

FRANCE, Colour, Video card, 43'
Original version: English
Photography, sound and editing: Elise Florenty & Marcel Türkowsky



FIDMARSEILLE 2011
* OFFICIAL SELECTION / FRENCH COMPETITION
* world premiere
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