TRIPTYQUE FILMS
 
MAÀLICH

Director : Thomas Jenkoe
Cinematographer : Anthony Foussard & Gwennaël Hertling
Sound design : Pierre Bompy
Editing : Guillaume Massart & Thomas Jenkoe

2012 - 1h25 - 4/3 - HD


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Alfortville, between the Seine and the Marne rivers. Hidden in the shadows of the Chinagora, a vast and decaying hotel, people come together. They may be employees of the hotel, tourists, homeless people, or mere inhabitants of the neighborhood, like me. They should be sleeping, but they can't.

This film is a poem about our Night, whether it is outside or inside us. Will a new dawn rise again?
 
Maàlich
   SCREENINGS :
 

Séances d'Avant-Garde - Cinémathèque Française, Paris
(July 2013)

Festival I Mille Occhi - Trieste, Italy
(September 2013)

Mois du Film Documentaire - Saint-Denis, France
(November 2013)


 
MAÀLICH
 NICOLE BRENEZ, ABOUT THE FILM:
 

« In 1926, Alberto Cavalcanti directed the first of the Urban Symphonies, Nothing But Time. It destroyed the clichés and proposed a new representation of the sufferings of the excluded: an old beggar walks through the film, a little black silhouette in the forlorn wastelands, a tiny needle on a compass directed towards the accurate figuration.

In 2012, Maàlich by Thomas Jenkoe takes over from Cavalcanti and many other worthy directors (Peter Weiss, Holger Meins, Lionel Rogosin, Jérôme Schlomoff…). In place of a 1920s city of Paris divided between its center and its borders, Maàlich is set in the Chinagora: an unbelievable commercial complex in the suburbs, a place where territory has no nation, a place where the victims of economic globalization are found stranded.

Instead of the allegoric ragged and beggars of Cavalcanti, instead of the Algerian immigrants hidden in some caves by the Seine river in The Three Cousins by René Vautier, a few individuals cast in the nooks of concrete, a few complex individuals taken in their singularities and their harshness — and the director never makes believe that the film might ever exhaust them.

Instead of an auteur that would rule over the images, a director surely more lost than the ones he meets, the ones with which he tries to talk as one would jump out of the window hoping to fall into someone's arms.

Instead of an extensive exploration of the place along the day, an apnea diving into the optical ressources that only night offers — that welcoming night that frees us from society and brings everyone back to the basic needs: sleep, eat, love, and find a reassurance after all.

Night, figuring the existence reduced to a practical nightmare.

Maàlich
is made of sparkling humanity, of flickering gleams of light on the verge of perfect darkness. »

Nicole Brenez,
Avant-garde cinema programmer for the Cinémathèque française



 
 
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