Détour suivi de Jovan from Foula

Vincent likes traveling, I don’t. Nevertheless, we will try something: to film together to see if our experiences of traveling and of sedentariness align. Vincent considers traveling to Zanskar, a region in the Himalayas. I like the idea of facing a scenery that is radically foreign to me. How do you film a desert, mountains, dryness? But before this trip we decide to go to the Shetland Islands. We don’t have any idea what we are going to film. I start cutting up the notes made by Vincent in his travel log during the ten years that separated us, maybe to use them in the film.
On the island of Foula we run into Jovan. It was late in the day, the fog was thick, and we looked wild. He offers to give us a tour of the island the very next day. It’s a long sequence shot of the scenery going by, seen from the inside of his car. On the only existing road, Jovan points out the mess on the island to Vincent: discarded cars and tractors, heaps of rusty scrap. Then, on another island, Papa Stour, we film what was to become the first part of the film: apanoramic shot of the scenery divided into ten static shots, each corresponding to one of the ten years we hadn’t seen each other. During the editing process, we would combine each shot with one of the ten journal fragments that I had selected. (Pierre Creton)

In the presence of Pierre Creton and Vincent Barré.
With L’ARC D’IRIS, SOUVENIR D’UN JARDIN and MÈTIS.