Like a dream within a time capsule, these moments filmed in various places seek to present an anachronistic life in a purified and mythical universe. Time is trafficked according to the images, to restore their brevity and intensity and consist only of the purest moments.
In this universe, everything on display is a fragmented projection of oneself. The actions are set in public places which allow the protagonists to enter the field of “the game”– the theatricalization of their fantasies. Public places exacerbate desire by mixing modesty and indecency, both of which have a delaying effect on delight.
Exhibitionism is the privileged vessel of a spectacle of excess. According to Lacan, exhibitionism is the theatre within the mirror which is engraved in primary narcissism– the outcome of the exhibitionism is the desire for obscene provocation. Obscenity is defined by its attraction to condemnation: a challenge and reaction against a rigid audience. Between the story’s heroes, an obscene emulation is created: Johnny nominates himself “the nastiest” and takes it upon himself to magnify Daddy’s debauched portrait:
“Your puppet is now pulling the strings…”.
We are the foreign travelers
Love by proxy
We mix our past
With our daily troubles
I am the angel of loneliness and he is the saint of isolation
We disturb everything with our tricks, vulgarity and our cheap provocations
We represent the fear of a society that keeps the truth
Maybe the actors are just looking for an audience to violate
Thanks to Margaux Esclapez and Thea Govorchin for their involvement and help filming these moments and for the participation of the following artists and musicians: Asaël Robitaille, Jakob Emil Lamdahl Pedersen, Frances Lash, Luka Bensemoun, Arcangelo de Castris, Kristian Emdal, Ambre Hazlewood, Martine Duverglas, Angèle Metzger, Erick Faulkner, Pietari Jean-Jean Kaakkomäki.