MANIQUERVILLE

在诺曼底的一家服务中心居住着罹患神经衰退症的老人。法国演员Françoise Lebrun定期从巴黎赶来服务中心居住。她和中心协调员Clara Lepicard的关系日益密切。
导演Pierre Creton 扩大了自己的主题，将普通的社会范畴抛在脑后。他的作品是对《回忆过去》的精准重复，书中的任务栩栩如生的从文字中站起来，呈现在观众面前。电影呈现的是真正的变态行为。比如，一枚子弹打中了一个老妇人的脸，她的脸却变成了一朵精致的白色花朵；在描述一些原住民和他们的老房子时，却要拍摄一幢空荡荡的即将拆迁的普鲁斯特房子。需要坐轮椅的人却在回想他航海的日子；等等。正如Françoise Lebrun和Clara Lepicard在片尾指出的那样，没有什么是一成不变的。
Maniquerville gerontology center, in the Pays de Caux (Normandy), accommodates elderly persons who suffer from neurodegenerative diseases. French actress Françoise Lebrun regularly comes from Paris to read out Proust to center residents. A strong bond has grown between her and center coordinator Clara Lepicard.
Enough for the context, protocol or narrative framework, as you may call it. Pierre Creton obviously chooses to broaden the subject to an other dimension, leaving behind the usual sociological approach. His project is a free but strictly accurate adaptation of Remembrance of Things Past (the text is read patiently, abundantly, intensely), as if the characters from the book were raising from its pages to become before our eyes the audience of their own life stories, the spectators to their own decrepitude. Rather than a sad inventory, Maniquerville brings about real metamorphosis. For instance, when turning an old lady’s face into a delicate white flower via a shot/ reverse shot. When drawing a parallel between the ravages of time on the residents and on the old building they used to live in, a Proustian house now empty and about to be pulled down. Or when somebody confined to a wheelchair calls up sailing memories, etc. Nothing is stable there, and Françoise Lebrun and her accomplice Clara Lepicard point it up at the end of the film, laughing during the two-voice reading of a comic extract by Blanchot, about the boundless generosity of fatigue.

马赛国际纪录片电影节GNCR奖

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