L'HOMME ET LA MER
Film von Patrick Müller
DE: Der Mensch und das Meer: In Baudelaires Gedicht wird das Meer zum Spiegel des Menschen: wild, abgründig und geheimnisvoll.
EN: Man and the Sea: In Baudelaire's poem, the sea becomes the mirror of man: wild, abysmal and mysterious.
FR: L'homme et la mer: Dans le poème de Baudelaire, la mer devient le miroir de l'homme: sauvage, abyssal et mystérieux.
Germany, 2018, 4 Min, Super8
Text: Charles Baudelaire, Voice: Patrick Müller, Camera: Logmar S8, Film stock: Cinevia Fuji Velvia 50D, Processing: Patrick Müller, Telecine 4K: Ochoypico, Madrid. Filmed in France at Belle-Île, Quiberon et Saint-Philibert, 2018. Dedicated to my filmmaker friend Björn Last (1982–2018).
- 16 August 2019 3rd Annual Smith Sound Film Festival, Clarenville, Newfoundland, Canada.
- 23 March 2019 20. Dresdner Schmalfilmtage, Germany (International Competition S8/16)
- 08 March 2019 27th Annual Artifact Small Format Film Festival in Calgary, Canada
- 31 October 2018 Finalist at New York City International Films Infest Festival (NYCIFIF), New York, USA
- 13 October 2018 2nd Logcinema Art Films, Pomona, CA., USA (Official Selection)
- 20 September 2018 Great Lakes International Film Festival, USA (Official Selection)
Marie Craven, Moving Poems, 02.08.2019: “German film-maker Patrick Müller here adapts to the screen Charles Baudelaire‘s poem, “L’homme et la mer (Man and the Sea)”, from the poet’s most famous collection, Les Fleurs du mal (The Flowers of Evil), first published in 1857. This is his second adaptation of a Baudelaire poem, after Le Chat (2013). The piece displays a distinctive approach by the film-maker, who shot it on the tiny and mostly obsolete super 8 celluloid format, popularised as a home movie medium from the time of its release by Eastman Kodak in 1965. Müller’s artisanal work includes hand-processing the film himself, then transferring it to the high-quality 4K video format for completion. This combination of analogue and digital creates uniquely beautiful images, with the sensuality of the film grain rendered in uncharacteristic clarity, and the choices in colour grading adding further to the poetry of the visual stream. The softness and quiet passion of Müller’s voice entices us inwards to the text and the film. As with Caroline Rumley’s, Open Season, shared on Moving Poems yesterday, the soundtrack of L’homme et la mer is punctuated by sudden breaks to silence, as if to give moments of contemplation before beginning anew with the next fragment of the film.”
IB CINEMA Motion Picture Films, 16.07.2018: “A piece of art.”