Jean-Paul Dupuis

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Chant IV
1

Chant IV

Jan 01, 1970

Chant IV
1970 137 min 1 vues
A simple meal of meticulously photographed ingredients with gruesome close-ups.
Maloya
1

Maloya

Jan 01, 1970

Maloya
1970 137 min 1 vues
A simple meal of meticulously photographed ingredients with gruesome close-ups.
Cascade
1

Cascade

Jan 01, 1970

Cascade
1970 137 min 1 vues
A simple meal of meticulously photographed ingredients with gruesome close-ups.
La Nuit claire
6.7

La Nuit claire

Oct 29, 1978

La Nuit claire
1978 85 min 11 vues
In a montage alternating with moments of Nigel Rogers' interpretation of the most beautiful passages from "Orpheus," the opera by Striggio and Monteverdi, La Nuit Claire is an evocation of the celebrated myth, within which images of the love between its two modern protagonists, Anne and Julien, are inscribed. - BAM/PFA
Fantasy
Boucherie fine
7

Boucherie fine

Jan 01, 1987

Boucherie fine
1987 15 min 1 vues
A butcher whose meat is most tender, surrounded successively by ephemeral and delightful cashiers.
Comedy
Dreams and Light
1

Dreams and Light

Jan 01, 1980

Dreams and Light
1980 10 min 1 vues
Peter Morin' show, deliberately narrative, fantastical and symbolic, was calling for a cinematic transposition in which objects, actions, gestures, without losing anything from their power, would be used differently, liberated from real time, linearity, theatrical space. The use of cinematic language (i.e. numerous framings, dark and light opposition, camera motion, superimpositions, different rhythms at the editing) permitted this transposition.
Les Chants (I, II, III, IV, V)
8.5

Les Chants (I, II, III, IV, V)

Jan 28, 1981

Les Chants (I, II, III, IV, V)
1981 59 min 2 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Lithophonie
1

Lithophonie

Aug 30, 1977

Lithophonie
1977 78 min 1 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Lithophonie
1

Lithophonie

Aug 30, 1977

Lithophonie
1977 78 min 1 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Lithophonie
1

Lithophonie

Aug 30, 1977

Lithophonie
1977 78 min 1 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Lithophonie
1

Lithophonie

Aug 30, 1977

Lithophonie
1977 78 min 1 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Lithophonie
1

Lithophonie

Aug 30, 1977

Lithophonie
1977 78 min 1 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Au-delà des ombres
1

Au-delà des ombres

Jan 01, 1973

Au-delà des ombres
1973 64 min 1 vues
The first series of a film whose course is in parallel with the life of the author. Unlike a newspaper, however, any realistic, everyday element is excluded. Only one theme will carry through the whole work: the expectation of death, its presence at every moment of life, the inexorable advance of time which, hour after hour, day after day, season after season, marks every face, every body transforms every look, invests every place in its light, its forms, its colors, asserts itself in the face of what man believes eternal: the ebb and flow of the sea, the mass of rocks, their stone works.
Transfiguration
1

Transfiguration

Jan 01, 1979

Transfiguration
1979 18 min 1 vues
Carried by chamanics and cosmics vibrations music, this movie present us Aloual, the fetish actor, in a kind of naked and listless semi-captivity. Sustained by bandages, half floating in the airs, arrowed by glances, this St-Sebastian is the heart of a ritual who combine plastic beauty, Chrisitc's dolor and pagan's voluptuous pleasures.
Dansité
3

Dansité

Jan 01, 1978

Dansité
1978 10 min 2 vues
Carried by chamanics and cosmics vibrations music, this movie present us Aloual, the fetish actor, in a kind of naked and listless semi-captivity. Sustained by bandages, half floating in the airs, arrowed by glances, this St-Sebastian is the heart of a ritual who combine plastic beauty, Chrisitc's dolor and pagan's voluptuous pleasures.
L'Age du bois
1

L'Age du bois

Jan 01, 1979

L'Age du bois
1979 13 min 1 vues
Carried by chamanics and cosmics vibrations music, this movie present us Aloual, the fetish actor, in a kind of naked and listless semi-captivity. Sustained by bandages, half floating in the airs, arrowed by glances, this St-Sebastian is the heart of a ritual who combine plastic beauty, Chrisitc's dolor and pagan's voluptuous pleasures.
Lied en ré mineur
1

Lied en ré mineur

Jan 01, 1980

Lied en ré mineur
1980 26 min 1 vues
Carried by chamanics and cosmics vibrations music, this movie present us Aloual, the fetish actor, in a kind of naked and listless semi-captivity. Sustained by bandages, half floating in the airs, arrowed by glances, this St-Sebastian is the heart of a ritual who combine plastic beauty, Chrisitc's dolor and pagan's voluptuous pleasures.
K.N Ô
6

K.N Ô

Jan 01, 1984

K.N Ô
1984 9 min 2 vues
Carried by chamanics and cosmics vibrations music, this movie present us Aloual, the fetish actor, in a kind of naked and listless semi-captivity. Sustained by bandages, half floating in the airs, arrowed by glances, this St-Sebastian is the heart of a ritual who combine plastic beauty, Chrisitc's dolor and pagan's voluptuous pleasures.
Ex-Tension
5

Ex-Tension

Jan 01, 1988

Ex-Tension
1988 6 min 1 vues
The body energy, contained, frees itself through the contrasting gaze's light, through the fragmented play music. Energy is concentrated in the gesture time and in the wait of the matter. Ex-Tension: Meeting of a body writing with the duality Image/Music.
Focalises
1

Focalises

Sep 12, 1980

Focalises
1980 8 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
L'ivre d'auteurs
1

L'ivre d'auteurs

Jan 01, 1996

L'ivre d'auteurs
1996 17 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Documentary
L'ivre d'auteurs
1

L'ivre d'auteurs

Jan 01, 1996

L'ivre d'auteurs
1996 17 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Documentary
L'ivre d'auteurs
1

L'ivre d'auteurs

Jan 01, 1996

L'ivre d'auteurs
1996 17 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Documentary
L'ivre d'auteurs
1

L'ivre d'auteurs

Jan 01, 1996

L'ivre d'auteurs
1996 17 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Documentary
Gina Pellon
1

Gina Pellon

Jan 01, 1981

Gina Pellon
1981 30 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Abs/tracks
1

Abs/tracks

Jan 01, 1959

Abs/tracks
1959 4 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Arlequin des rues
1

Arlequin des rues

Jan 01, 1974

Arlequin des rues
1974 85 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
L’oiseau cuvette
1

L’oiseau cuvette

Jan 01, 1975

L’oiseau cuvette
1975 50 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
Désespérément
1

Désespérément

Jan 01, 1972

Désespérément
1972 45 min 1 vues
The film has been imagined in 1976 and realised in 1980. The idea was highlighting the depth of field throught the cinematic focus. The idea was also that in commercial movies the middle-distances are always blurred, sacrified, not seen, for the advantage of the focused foreground, tool of the narration.
42e Dialogue avec l’Invisible
1

42e Dialogue avec l’Invisible

Oct 18, 2024

42e Dialogue avec l’Invisible
2024 7 min 1 vues
The aim of my approach is to bring together in these Dialogues what separates us from what is essential, to build a special relationship between the sound and the visual that I want to share with everyone in their differences. Finally, these Dialogues are built and created over time.