Claudio Pazienza Collection - Fragments of Works - 3-DVD Box Set ( Tableau avec chutes / Esprit de bière / L'argent raconté aux enfants et à leurs parents / Scènes de chasse au sanglier / Exercices de disparition ) ( Picture With Falls / Beer / Money / Scenes From A Wild Board Hunt / Exercises In Vanishing )

Claudio Pazienza Collection - Fragments of Works - 3-DVD Box Set (DVD) (*)

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Original Title: Tableau avec chutes / Esprit de bière / L'argent raconté aux enfants et à leurs parents / Scènes de chasse au sanglier / Exercices de disparition
Alternate Title: Picture With Falls / Beer / Money / Scenes From A Wild Board Hunt / Exercises In Vanishing
Screened, competed or awarded at:
Other Film Festival Awards

Language Selections:
English ( Subtitles )
French ( Dolby Digital Stereo )

Product Origin/Format:
France ( PAL/Region 0 )

Running Time:
302 min

Aspect Ratio:
Fullscreen

Special Features:
3-DVD Set
Box Set
Interactive Menu
Scene Access
Booklet

Movie filmed in 1997 - 2011 and produced in:
Belgium ( France, Benelux )
France ( France, Benelux )

Directed By:
Claudio Pazienza

Written By:
Claudio Pazienza

Actors:
Claude Semal ..... Icare
Noël Godin
Carmela Locantore
Gina De Laurentis
Giovanni Ferreti
Nunzio Pantano
Carlos Pazienza
Steve Watripont
Claudio Pazienza
Jacques Sojcher ..... Himself

Synopsis:

Picture With Falls (1997)
An enquiry built around a picture - 'Landscape with the Fall of Icarus' by Brueghel - and the numerous questions it raises.

Beer (2000)
Dark or light, beer exalts and numbs. It serves out big talk or big hangovers. It unifies and separates. It sums up gestures, desires and failures. It has a memory.

Money (2002)
There is nothing naive about 'L'Argent raconté aux enfants et à leurs parents'. It is a tragicomedy dealing with debt, ties, filial love and money.

Scenes From A Wild Board Hunt (2007)
Meditation on the images which dwell inside me and those I would exile myself to. Meditation on the meaning of the word 'reality' and meditation on the estrangement of images and words.

Exercises In Vanishing (2011)
A finger searches in a box of colour-headed pins. Traces a pattern in the powder snow. Leafs through a stack of letters.

Picture With Falls (1997)
An enquiry built around a picture - 'Landscape with the Fall of Icarus' by Brueghel - and the numerous questions it raises. This is one of them which could encompass all the rest: what exactly does ''to look'' mean? A journey inside a picture thus offers the opportunity to travel through Belgium at the approach of the 21st century, and also to bring up a host of questions what the eye sees: what do we see disappearing under our very eye? Why do we look at specific things? What is a point of view? [...] Philosophers, unemployed people, psychoanalysts politicians have a word to say... Their testimonies are interwoven with more intimate extracts from the film-maker's diary written from mid-June to mid-October 1996. This question of what we first see enables the film to paint the portrait of a peaceful country where unexpected, undreamt-of things happen... much like in Brueghel's painting.

Beer (2000)
Dark or light, beer exalts and numbs. It serves out big talk or big hangovers. It unifies and separates. It sums up gestures, desires and failures. It has a memory. Beer, we frequent it and absorb it. In us it is transformed and it transforms us in turn. It engenders minuscule utopias, lasting one night. In a certain manner, it also sums up the strange relationship we have to things, to the world: we swallow it without really knowing what it is and what it is composed of. It is at the same time a clear and a confusing substance. Essay in liquid archeology blending outsider pedagogics and the search for self, Beer leads its investigation of this golden beverage as a commissioner would of a crime. Beer is thus first analyzed as a substance, as matter (real, chemical, physical...). Then, it cycle becomes the object of particular attention. Cycles that address man in his desires for bonds and exchanges. Cycles who remind us how - even beer - may be a matters of (self) contemplation.'

Money (2002)
There is nothing naive about 'L'Argent raconté aux enfants et à leurs parents'. It is a tragicomedy dealing with debt, ties, filial love and money. In Pazienza's work surrealist collages gratifyingly overthrow the often-vague notion of microeconomics. We enter within this absurd world which is nevertheless ours and in which the most rigorous scientific approach either verges on idiocy or on the plainest common sense. First part: the origins - the filmmaker's family - and the specialists. The first question: where is the money kept? In mother's handbag. Our actor-film maker, as placid as he is irreverent, questions his relatives, Italian immigrants. A small coin monopolises our attention. He then takes us to Paris where Professor de Boisseux reminds us of the basics of economics. The image is divided in two, separating the economist from Pazienza: on screen as in the worlds, the gap between classes, between theory and practice is widened. The filmmaker comes to his first conclusion: money empowers... or does not. Avoiding debt implies sacrifices; making sacrifices doesn't avoid one from getting into debt. And debt is shame. Why not print banknotes? Obviously the idea is shocking to the governor of the central bank. Second part: the SIMEC (simbolo econometrico) revolution, the invention of Italian Professor Auriti. Let us experiment in situ and in vivo with the creation of this currency worth twice as much as the Lira. The law professor reminds us that all currencies are conventions and that only the circulation of a currency confers upon it an induced value. In a small village in Italy he issues this symbolic money to boost consumer spending. Then follows an epic scene on a platform in a deserted railway station, were Pazienza's parents, incredulous, meet the mad professor and find out that their money is only a bank Ioan! All this remains very dogmatic for the filmmaker - and for the spectator! - who literally turns his back on Prof. Auriti's experiment. The final, or almost final word, Pazienza leaves to a philosopher. Another paradox: what if debt was a tie, a necessity for man who lives in society? In the film, a child - the filmmaker's - is born. It is his turn to embark upon the spiral of debt and ties!'

Scenes From A Wild Board Hunt (2007)
Meditation on the images which dwell inside me and those I would exile myself to. Meditation on the meaning of the word 'reality' and meditation on the estrangement of images and words. Meditation on bereavement, the death of those close to me and in the way to 'put into images' the noise of things and of the world. Meditation on the 'matière-à-images', on the desire to touch. Meditation on the desire to destroy. Meditation on images, and on the wish to remain inconsolable.

Exercises In Vanishing (2011)
A finger searches in a box of colour-headed pins. Traces a pattern in the powder snow. Leafs through a stack of letters. Close-ups of the filmmaker's hands create the link between a mind that is searching and a body that is showing to the friend, the philosopher Jacques Sojcher, objects like the bottles of rainwater he collects at his window and labels-their dating, like a miniature stele, having more importance than their content. These objects are both funeral relics and proof that the world is alive and throbbing, just as the philosopher sees nothing contradictory in combining his passion for Nietzsche with his liking for tap-dancing. But Exercices de disparition also enables Claudio Pazienza, who seems constantly discomforted by his own off-screen voice, to make himself vanish. In one astonishing shot, he is seen stretched out behind his mother's sewing-machine table and, for a few seconds, he transforms into a future man-cut-in-pieces. Mid-way between a conjuring trick and Francis Ponge's The Voice of Things, the disappearing exercise takes on planetary dimensions: the film-maker disappears with Jacques to opposite sides of the world, as the editing takes them from Asia to Africa. Or makes Jacques climb into a coffin shaped like a giant fish. Could it be that disappearance in fact means becoming pure listening? Capturing in the dark ('nothing to describe, nothing to say') the world's sounds that come in answer to every mourning's 'explosion of silence'.

This product was added to our catalog on Saturday 15 September, 2012.