L'Abominable

Three filmmakers bring back images of the forest. They are reworked and destructured with the means of the photochemical laboratory. BOSCO is a visual breakthrough punctuated by a contrasted and hypnotic black and white.

Rey's first feature film begins as a stylish quasi-verité documentary about everyday life in a modest French ski resort. Gradually the film's attention shifts and discovers the dominant presence of the aluminum industry in the area steadily reshaping the region and threatening the resort itself. Shot on grainy 16mm treated with extreme photochemical techniques, the fable about industry and capitalism is an exploration of landscape as a hidden set of signifiers of power. - Harvard Film Archive

This series of three works is part of the “household scenes” project, a corpus in development. It is a set of vignettes, cinematographic tableaux, built around the repeated gestures of my parents’ daily life. I present these scenes sometimes as sequence shots, sometimes as a succession of cut-out shots. Some depict only one parent, with particular emphasis on how he/she negotiates domestic space. With these paintings, imagined in various environments and by a treatment specific to the medium, I work to reveal the singularity of the places, the movement of the figures and the relationship between the two.

Soviets Plus Electricity is a cinematic journey through Russia to Magadan, a city famous in Soviet times for being synonymous with deportation. Based on excerpts from his acoustic diary, documentary footage and some autobiographical insights given on the way, the roving reporter searches for imaginary roots and its historical and political implications. The film was shot in August and September 1999 - Los Angeles Filmforum

This series of three works is part of the “household scenes” project, a corpus in development. It is a set of vignettes, cinematographic tableaux, built around the repeated gestures of my parents' daily life. I present these scenes sometimes as sequence shots, sometimes as a succession of cut-out shots. Some depict only one parent, with particular emphasis on how he/she negotiates domestic space. With these paintings, imagined in various environments and by a treatment specific to the medium, I work to reveal the singularity of the places, the movement of the figures and the relationship between the two.