Le Voyage à Vézelay

In an effort of making life and death easier for us, I asked my father if it would be all right for me to film his funeral. My father suggests, for images of him alive, to use the photographs of the Tour de France races he participated in. He passed away during the last stages of the Tour de France in the summer of 2002.
I contemplate taking to the road and going from his grave to the grave of Georges Bataille, whose writings about the excessiveness of desire and death accompanied me at that time. I asked my friends Marie Le Pallec and Bénaïd Mostefaï to join me on this journey to Vézelay.
I asked this last thing of my father: that he somehow participate in one of my films. I bought a camera to film his funeral, my first camera. Somewhat shaken, I ended up with images from the hospital and the morgue, and we started to write based on these relic images.
LE VOYAGE À VÉZELAY, that’s the invention of a new family: Françoise, Marie, Bénaïd, and me. A community of those who don’t have a community, to quote Bataille. I edited the film here, at Jean’s house, with Michel Bertrou, a friend who is also a veterinarian and takes care of my animals. All subsequent films will be edited here, in this house. (Pierre Creton)

In the presence of Pierre Creton and Vincent Barré.
With LES VRILLES DE LA VIGNES and LE PAYSAGE POUR TÉMOIN (RENCONTRE AVEC GEORGES-ARTHUR GOLDSCHMIDT).