Watch a film by Pierre Creton is change of perspective. We're used to for-all large and medium-sized machines, we forget the for-itself handicraft both solo and cooperative but very isolated surrounded by some rare works. The trilogy Caux falls into the latter category. Pierre Creton, after studying art, instead of following his friends in Paris, decided to return to the campaign of his childhood and work. Between him and what is called the world, he paints a wall. Each film is need to separate, remove the confusion. Pierre Creton is a French filmmaker, he is a farm worker Pays de Caux, which also makes films (a "CineMaster," as he said one of his colleagues or bosses when the query). It is not, as Depardon, a local man who returns to see what has changed, it is not in memory or nostalgia, there is no intermediary between a specific place and the world, it is this place, infiltrated, and makes movies for a little longer in this world, yet a little longer there, alive. And that, in these trades he defends, in these meetings he did and in such films as and he invents as he lives, that will play its desire and need. One could believe in a fantasy of authenticity, but rather sees a lifeline Pasolinian sincere and that could be otherwise. That, that's all. 
Attached to a place, and returning to live and work, his occupation will be, firstly, to describe it. These three films are nothing more than descriptions, sketches rigorous, almost plans. Hired as a weigher in S ector 545 he filmed a map showing its scope: 25 farms and different patterns, 25 faces and landscapes, the illusion of a whole, the birth of a passion for this art. It can link to it, criss. Hand pass on this map, showing roads and borders. This plan does nothing to guide: it is a manifesto. There, precisely. Being there, better than a ghost haunting through work and film, the desire and the conversation, by producing a memory and a link between all these beings. Sinu, move, creep.
In Sector 545, it is the farmers. In Landscape i o impose , it is their children, learning their craft to agricultural college. In Maniquerville , what are their parents in retirement homes, where Lebrun just give readings of Proust. Three films, three sketches of the same landscape in three distinct points of view, rigorous in how meaning circulates (no desire to say more or larger), and disorders because they do not conceal their sensuality, the latter unfolds on a sentence, a face, a flower, or a cow - it is the event which made the film, not the reverse. The question posed by Pierre Creton farmers Sector 545 is: What differentiates you for the man from animal? The answers vary. Until a plan of dawn when Pierre Creton grabs a cow and hugs - Compensation poetic rationality put to work, or dazzling philosophical embrace this abolishes the question of difference. In Landscape imposed, the question is: what is a landscape? The students respond, and CineMaster filmed their faces. Obviously, we understand the landscape, it's them. The title is misleading: one of the interviewees replied to the question by Pierre Creton: "In my landscape, it is Jean-Paul (Sartre) and Simone (de Beauvoir). The landscape becomes imposed chosen landscape, landscape of election, or landscape thing.
But it's not only about the study that changes is also his way. The manner shifts gradually. What the filmmaker introduced in the documentary always varies: autobiography Sector 545 (which is like a Discourse on Method), history in Landscape imposed (the filmmaker recalls the account in Peter's River, which took place not near the agricultural school), fiction Maniquerville (some scenes are written Lebrun). For Pierre Creton continues to alter, to find echoes of foolish attempt reconciliations. His employer, he will, with a sculptor friend, a bust. The films of Pierre Creton are like the plan of him hugging a cow: a desire or intuition, a necessity, burst the rationality of form, the banality of the images. This is not common (no regionalist), but rather the singular, which is important and overrides.
What is remembered of this trilogy, we are not spectators in the Pays de Caux? First images: a man holding a cat in her arms, the reflection of a sculpture in a window through which we see trees, a snow-covered road, smiles, serious faces. And also those who are old, at the same time as their physical capabilities diminish, the landscape where they believed killed their escape: they destroyed the castle, the park is a recreational area, we will move them. They just listen Lebrun read Proust, and the words resonate, or not for them, for us, whatever, the words are there.
We regret that only Capricci has chosen not to edit all the films of Pierre Creton. Time shepherd , seen at the Pompidou last year, was a wonderful short film. Hopefully there will be other opportunities to see it, follow this singular work, saying with so much power its singularity.
also found that chronic Kinok .
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