Fêtes de Belgique ou l'effusion collective

On Mardi Gras, before dawn, the Gilles get ready for the great ceremony of this day of collective effusiveness. Originating in the distant past, the Gilles perpetuate the pagan rites of renewal; the dance of the masked men, wearing bells, to the ternary rhythm of the drums that exorcises demons and calls fertility to the earth. In the afternoon, Gille, wearing a headdress of feathers, throws oranges, symbols of the sun, as a sign of abundance. The fullness of the image corresponds perfectly to the omnipresence of the sound: the white of the ruffs fills the frame. A Storckian shot: the carnival crowd moves back out of the way of the mounted constabulary, the meeting of order and disorder. The film ends with fireworks, and the image mingles the white of the feathers and ruffs and the red lights of the party.

“According to his sensitivity, his cruel, ironic, tender or warm way of seeing things, he seizes from this matter fleeting instants like the butterfly hunter does, for his collection.

The camera savours the self-satisfaction. The lens, that big greedy eye, shines with joyful voluptuousness for, in any show, there is exhibition. The titillated microphone vibrates to the rhythms of the festivities.

Swept away by this rhythm, one of the participants finally dares to surpass himself, lay himself bare. This is the most fascinating moment of all, for it exposes a fragment of human truth. The filmmaker stays on the fringes of the party, but does not try to avoid it. In order to film it properly, he must enter into its game. It is all a question of chance, mobility and above all, preparation. He needs to know relatively precisely what is going to happen. The best thing is to have experienced it before and, when editing, relive the emotions.


Henri Storck,
Cinéma du réel, Paris, 1988
四旬斋前的最后一个星期二，天亮之前，”吉乐”们就要开始为接下来一整天的集体大狂欢做准备。”吉乐”源于古老的欧洲传统，异教徒们意旨永恒的复活仪式；男人们戴着面具跳舞，系着腰带，跟随着一方面用来驱魔，另一方面企求土地丰产的鼓点而舞动着身体。下午，人们则顶着插满羽毛的帽子，将象征太阳的橘子掷向人群，祈求风调雨顺，五谷丰登。充溢的画面与无处不在的音乐相得益彰：吉乐们白色的颈圈充满整个镜头。一个典型斯托克风格的镜头：狂欢节拥挤的人群在骑警护卫面前后退，秩序与无序在此时发生冲突。影片以燃放烟花的场面结束，吉乐们身上白色的羽毛和颈圈与狂欢节红色光芒相互辉映。凭借内心的感性、残酷、讽刺、体贴或温暖地看待事物的方式，导演就像捕捉蝴蝶的人一样，抓住那些转瞬即逝的瞬间。
摄影机充分地自我享受着。镜头处那双贪婪的眼睛闪烁着愉悦的快感，在任何演出里都有展示的部分。麦克风也随着节庆的气氛有韵律地颤动着。

因为跟不上人群的节奏，其中一个参加者终于豁出去了，他干脆脱掉外衣躺在地上休息。这是影片最精彩的部分，因为展现了人性真实的片断。拍摄者自己待在节庆活动的旁边，但也并不完全排斥在外。为了更好地纪录，他必须也参与其中。这是一个涉及运气和机动性的问题，尤其是事先的准备。导演需要知道大概将会发生什么事情。最妙之处在于之前亲身经历过一次，而在剪辑的时候还能重新回味当时的各种情绪体验。”

亨利斯托克
真实电影，巴黎，1988年

4444(创建者)