LE PLEIN PAYS

看似充实的城市其实并不充实，而是非常空洞，充满了隧道和坑洞。但城市的表面下却有更多的东西。应该责怪谁呢？一个独自一人住在法国森林的人知道答案。西西弗斯在过去的三十年内，不断的向下挖掘，用简单的壁画、个人编造的神话装饰着他自己的洞穴。但这并不是事情的症结所在。Antoine Boute并没有被卷入其中。邮递员Cheval，尽管我们能看到这个不幸的男人在沿着巨石拖动着包裹。在幽暗的地下创作出来的原始艺术中也有令人感动的图案。他更像是一个已经长大的野孩子。尽管他并没有被赋予什么伟大的力量，但是他有自己的双手、洞穴、内心、声音、声音的共振和回声--这是他自己的歌声。
电影的不同之处就在这里：创造了令人神往的声音。声音是至关重要的奇迹。声音让Yeti感到震惊。一个无线电爱好者，将他在一个破旧的录音机里听到的声音录了下来，然后播放，再重新录制。他这样做的动力何在？他在他的土地上，开展他自己的考古挖掘，寻找他自己的过去。
The full country is not full, but hollow, gnawed through by tunnels and pits. Below the surface there is much to see, even to say. Who is to blame? A solitary individual that resides in a certain French forest holds the key. Sisyphus upside down for the last 30 years, digging up the ground, is burrowing down deep, decorating the rock face of his private caves with naïve etchings, personal myths, brief bestiaries. Yet this is not the crux of the matter. Antoine Boutet has not become embroiled with the yet another, Postman Cheval, even though we do see the unfortunate man dragging boulders along, or with the touchingly picturesque creations of yet another representative of primitive art, even though this expert comments on the minute details of what he has produced by the light of a miner’s lamp. He is more like the Wild Child who has grown up. What he is actually unearthing with the strength of nothing but his own legs and arms is himself, his den, his inner self, his voice, its resonance and echo – his plainsong.
The very uniqueness of the films stems from this: creating the convergence of a vocal ploy, which drags Brel off towards Artaud, with a horizon embedded in the earth. Sound is crucial, miraculous here and it is what amazes the talkative Yeti. A radio aficionado, he records what he hears on an unreliable tape-recorder, then repeats it, and re-records. His passion? Undertaking his own archeological excavations, raking over his past, in the search of his land.

马赛国际纪录片电影节GNCR奖

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