Gaël Badaud
At the age of 32, Gaël Badaud inaugurated a period of intense creativity (drawing, poetry, vocal music, film), after experiencing a constant wandering and struggle for survival, which marked him for his entire existence. Retired from his parents (gypsy mother and Breton father) by the Public Assistance when he was 4 years old, he was placed on a farm with a foster family. But this tormented being feels different in this environment foreign to his nature. At the age of 20, he left Loire-Atlantique and moved to Paris. Ten years later, in 1976, he meets Teo Hernandez, with whom a fruitful exchange takes place. He becomes the interpreter of the filmmaker's films, which, teaching him to read and write, allows him to express his sensitivity. In return, he shares with him his experience of "life in a vacuum". From their collaboration are born Liberté provisoire (1977), Gaël (1978) and Tables d'hiver (1978-1979) - filmed by Téo - who give us the keys of their relationship, and the achievements of Gaël, filmed, according to his mentor, "According to his personal gaze, without worry of any school or any conceptualization, cinema abrupt in the sense that it irrupted without rhetoric in the field of the filmic. Cinema away from the recipes and which proposes a new look, that of the innocence ".
Gestuel
as uncreditedThis film is the most "plastic", the most "actionist" of Nedjar: it is his In contextus or his...
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Graal
as uncreditedThe film Graal goes (as well as all the films which precede it) toward an open and avowed...
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Corps aboli
as uncreditedThe purpose of the film is to go beyond the notion of the body as a system of functions,...
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Liberté provisoire
as uncreditedLiberté provisoire takes from everyday life, transforming the ordinary into a sensory delight....
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Esmeralda
as uncreditedWith Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is...
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Chutes de La Vie brève de la flamme
as HimselfOuttakes from the movie.
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Cristo
as uncreditedAll of history, that of Christ or any other, permeates the world, leaves its mark, modifying and...
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Angle
as uncredited"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked...
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Gaël
as uncreditedAn approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the...
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Gong
as uncreditedA gong will never abolish chance? If chance is travesty of desire, and desire movement without...
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Lacrima Christi
as uncreditedLacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in...
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Fragments
as uncreditedEyes and ears travel discontinuously through everyday life and the sub-worlds of the city and...
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Tables d'hiver
as uncreditedWinter 1978-1979: In his signature style, Hernández films hearty meals, long afternoons and...
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Cristaux
as uncreditedThe tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal...
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Mes films commencent au moment où les autres se terminent (Conversation avec Teo Hernandez I)
as Himself (voice)
La vie brève de la flamme
as uncreditedOne of my last films to be made indoors was La vie brève de la flamme. I used light in a very...
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Le gant de l'autre
as uncreditedExploration of bodies. Point, counterpoint. A black glove goes in search of a red glove.
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Mesures de miel et de lait sauvage
as uncreditedTeo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks...
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Bouquet of Eyes
as uncreditedThrough the use of portraits, shadow play and reflections, this series of exercises with and...
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4 à 4 Métro-Barbès-Rochechou-Art
as uncreditedIn the early '80s, this collective of artists invented a style of cinema made in 4 hands, where...
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Rumeurs Saint-Maur
as uncredited"Sounds of images" come to me from the windows overlooking rue Saint-Maur (the former pilgrims'...
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