Hélèna Villovitch

Erika, jeune femme douce et singulière, a toutes les peines du monde à exister loin d’une mère envahissante et exubérante. Sur le mode de la comédie avec des incursions dans le fantastique, "Sofa" explore la puissance de la relation mère-fille, le poids de la transmission, qui prend ici la forme d’un encombrant sofa.

On this first of May 1986, a strange dust floats in the air. Between yesterday and today, a stroll through Paris and the images, as strident as they are irradiated.

Jan Peters films and talks every day, every day fills a reel of Super-8 or 16mm film. He speaks to the camera, or records a commentary on the images he is filming. For a month, Jan Peters tries to reflect on different themes, and events sometimes come to upset his plans. A quasi-police investigation in Belgium interferes with an intimate relationship; technical problems of all kinds (sound, image, light, film development, automobile mechanics) force the filmmaker to invent other solutions; a debate between filmmakers on the theme of the power of images turns into burlesque; artist friends want to contribute to the film that is being made. Thus, day after day, a film is built. Some things are planned, others are not.

Jan Peters films and talks every day, every day fills a reel of Super-8 or 16mm film. He speaks to the camera, or records a commentary on the images he is filming. For a month, Jan Peters tries to reflect on different themes, and events sometimes come to upset his plans. A quasi-police investigation in Belgium interferes with an intimate relationship; technical problems of all kinds (sound, image, light, film development, automobile mechanics) force the filmmaker to invent other solutions; a debate between filmmakers on the theme of the power of images turns into burlesque; artist friends want to contribute to the film that is being made. Thus, day after day, a film is built. Some things are planned, others are not.