THE THREE CROSSES
Long feature: 90'
Dir: David Duponchel
Dawn. A highway in the middle of a forest. A crash. Two couples step out of the wreckage, trapped in a spiral, destined to revisit the moments that lead to their deaths. Will they get to escape their lethal game of love and power this time?
Scenery Mood Board
A story about Eros and Thanatos, a story about desire and its absence, a story that is constructed after the accidental death of beings as a point of entry of a plot and that closes on itself; a story of ghosts, of traces, of steps, of routes, that were or could have been. Memories that are lost, that we can not capture and that the cinematographic form can only rewrite imperfectly.
Along an spiral:
When I started writing this movie, I was wondering how to work time. Time is an ontological component of cinema and the form of the film I wanted to make had to be related to this ontology. Many films have worked on this concept, such as La Jetée by Chris Marker and El Conformista de Bertolucci, as well as Memento by Christopher Nolan.
This form of the spiral - the Fibonacci spiral - attracted me as writing a story that begins again and again but which changes slightly in each loop. It had to be a story that was both identical and different, with similar scenes but where each replica of a character, a detail in the staging, another point of view, a different way of filming, another angle, a sound made it DIFFERENT, as the delicacy of the repetition of an experience. I still have not found the algorithm that allows me to modify each scene and that fits perfectly to the Fibonacci spiral. I build it by hand like an artisan.
The film appropriates the fabulous idea of Chris Marker's film, La Jetée, which works on the paradox of time. The beginning and the end are identical, but without the end, the beginning would not exist. Point A, the accident, is therefore the end and beginning of the spiral, allowing time to roll up and move with the strength of Eros and Thanatos.
In this story, the characters have the opportunity to live again the last hours of their lives before the accident and to avoid this fatal fate. However, the film is inscribed in a Heideggerian sense: the environment, what exists around them, hypocrisy and selfishness, the characters themselves, are inexorably trapped in this spiral, which is transformed in each spiral into a fabric of Spider. Hell, it's the others, Sartre said.
David Duponchel was born in Rouen, France. He studied film at the Sorbonne, and after a few years he moved to Prague, Czech Republic, to finish his studies at the prestigious FAMU (School of Film and Television in Prague). Most of his filmography was worked mainly in the formats of 35 mm and 16 mm. His short films have been recognized at festivals such as La Berlinale, Venice and Tehran. He founded the Central and Eastern European film festival A l'Est, which takes place in France, Argentina and Peru.
Domov, Czech Republic, 14 '. 35 mm. Selected for
Festivals of Barcelona, Belgrade, Durban, Montréal, Trieste, Téhéran,
Atlanta, Lucce and Prague. Awarded in the last four cities.
Pout, Czech Republic 5' . 35 mm (selected at the festival of
Enuma Elish, France, 15'. 35 mm
L'Enfer, 5 '16 mm
Le Joueur, 4' , 16 mm.
The Truce. Documentary film. Peru, 70 '
Video clip management: Wide Open Cage, Egg Noise, among others.
Advertising: Simply Siren, Blue Screen, Starlite, Czech Republic. Kuna, Fashion Film, Peru.