Va, Toto!

V'19

Va, Toto!

Go, Toto!

Pierre Creton
F, 2017
94min, OmeU

© Viennale © Viennale © Viennale

Va, Toto!

Pierre Creton
F, 2017
, 94min, OmeU

Sa
26
Okt
21:00
Metro, Historischer Saal
Do
31
Okt
13:30
Urania
Mit: 
Sabine Haudepin
Xavier Beauvois
Catherine Mouchet
Stimme Françoise Lebrun
Ghislaine Paul-Cavallier
Stimme Jean-François Stevenin
Vincent Barré
Stimme Rufus
Pierre Lavenu
Stimme Grégory Gadebois
Pierre Creton
Drehbuch: 
Pierre Creton
Vincent Barré
Mathilde Girard et Pierre Trividic
Ton: 
Michel Bertrou
Kamera: 
Pierre Creton
Léo Gil Ména
Schnitt: 
Ariane Doublet

Format: 
DCP
Farbe

Ein Film über das beredte, klangvolle Schweigen der Tiere. Der Titelheld von VA, TOTO! ist ein unternehmungslustiger Frischling, den Madame Madeleine bei sich aufgenommen hat, ein Überlebender der Jagden, die die naturverbundene 77jährige nicht verhindern kann. Sie nennt ihn den Mann ihres Lebens. Die Hausgemeinschaft mit einem Wildschwein, die Pierre Creton in idyllischem Splitscreen zeigt, ist nicht überall im Ort wohlgelitten (der Filmemacher Xavier Beauvois tritt als Beigeordneter des besorgten Bürgermeisters auf). Ein paralleler Handlungsstrang, auch er verhandelt das Verhältnis zwischen Mensch und Tier, führt einen Freund Cretons nach Indien. Nonchalant hebt der Regisseur die Grenze zwischen Dokumentar- und Spielfilm auf: Die Erzählungen der Figuren werden im Off von Schauspielern, darunter Françoise Lebrun gesprochen. Bild und Ton divergieren unablässig, bewahren sich aber ihre Intimität. COTÉ JARDIN von 2011 ist ein triftiger Auftakt, denn er feiert Neugier und Tatendrang anarchischer Haustiere, während im Radio erschreckende Nachrichten aus Fukushima laufen. (Gerhard Midding)

In Anwesenheit von Pierre Creton und Vincent Barré.
Mit COTÉ JARDIN.

 

In addition to being a play on the name of the town of Vattetot, the Toto of the title is also Madeleine’s adopted wild boar. The animal eventually grows on people and also in size. Vincent is fond of monkeys, and goes to India in search of their pranks. And poor Joseph, an agricultural worker, suffers from nightmares caused by the respiratory machine he needs to use. This is where inspiration from L’HEURE DU BERGER comes in: an autobiography with a tinge of uncanniness, an extraordinary sin within the ordinary, affection and love towards beings, humans and animals alike, every budding tragedy sprinkled with humor. It is there where Creton allows himself to take certain formal liberties. Split-screen, as if to mimic the layout of big illustrated books of fairy tales. And also, instead of using direct dialogue, there is the murmuring of voices from the off of roles spoken by renowned actors. In short, the film deepens its fictional content, is playful and determined without ever, quite miraculously, losing its grace. And all of a sudden, all these daring connections brought forward by the film become more emotional, their complexities become entangled, asserting their mysteries in an ever brighter light. Even though, when it comes to mysteries, the mystery of love, often repeated, insisted on or run away from, is the constant bass to this splendid plainsong. (Jean-Pierre Rehm)

"I did not choose this or that animal; I have always started from real situations. The wild boar, the cats, the monkeys are an integral part of life and therefore of every character’s story. I don’t use trained animals in my films. The stories told by the voices from the off don’t necessarily correspond to the images, which was done to create a resonance effect, to leave an imaginary space between the narrative, between what one sees and the memories that belong to the characters themselves. Having the voices of the main characters spoken by professional actors adds a fictional and novelistic dimension. The voice of Françoise Lebrun for Madeleine was an obvious choice. I relied on Jean-François Stévenin both as an actor and as a director, and on Evelyne Didi, with whom I had already worked to make SUR LA VOIE (2013). And I worked with Rufus, which took me back to JONAS QUI AURA VINGT-CINQ ANS EN L’AN 2000 (Alain Tanner, 1976). I think that all of us have something like an internal voice that tells the story of our life. That was ultimately the essence of this film. The professional actors on the screen all live either in Vattetot-sur-mer or in Bénouville: Sabine Haudepin, Yves Lefebvre, Catherine Mouchet, Xavier Beauvois. They are part of the landscape, of my everyday life.” (Pierre Creton)

In the presence of Pierre Creton and Vincent Barré.
With COTÉ JARDIN.