Rouges Silences, Alain Mazars, 1979

Here the codes are amplified and distanced by an expressionist plastic that, for the first time perhaps in Expressionism, takes humor into account. Some very close-ups of flowers, insects are reminiscent of the prose of a Caillois that I did not know until this film equivalent cinema. There is a double movement in this film. At the same time, a sort of restraint of the plans and bulimia, a frenzy to film, perhaps this is what mainly troubles us and takes us into a way of seeing that was unknown to us.