Emotions run parallel to bodily processes, signify the interpretation of identified and replicated bodily states and are externally recognisable by third parties.
Within one’s writing, speaking, and ideally within one’s daily practical life, to place one’s words, pauses, pitches, and even omissions purposefully and communicatively can be now be called a luxury.
Dialogues between Marguerite Duras and Jean-Luc Godard represent a starting point and a useful landmark for a true evaluation of the relationship between the written word and the image. In one interview from 1997, Godard said that he knew Duras “for two or three years”, evoking the title of his film Two or Three Things I Know about Her.
In Nous Disons Révolution, the outstanding attempt by Klotz and Perceval lies in transferring this cyclical effort to the exercise of the filmmaking process itself: to film as an act of rebellion