Mathilde Girard

Le thème principal d’Almost a Kiss, ce film très intimiste de Camille Degeye, est le deuil. Une jeune femme traverse une ville de province confinée et sa périphérie. Une fois arrivée à destination, un étrange protocole de deuil l’attend. Celui que l’on doit vivre lorsque l’on vient d’enterrer un père, et que l’on doit, comme si le choc n’était pas encore assez grand, récupérer l’urne qui a recueilli ses cendres. Au fil du film, la protagoniste interroge ce qu’il faut enterrer, et ce à quoi il faut continuer de faire prendre l’air. Un film qui, indiscutablement, questionne ce qui vient après les grands bouleversements intimes.

Paris at twilight, children playing in a square. When night falls, masked passers-by scurry about before returning home. In wide, static shots, decisively composed following the lines of streets and buildings, Mathilde Girard films the flow of people during lockdown as curfew begins – the erratic, perpetual movement of a fragmented people.

Paris at twilight, children playing in a square. When night falls, masked passers-by scurry about before returning home. In wide, static shots, decisively composed following the lines of streets and buildings, Mathilde Girard films the flow of people during lockdown as curfew begins – the erratic, perpetual movement of a fragmented people.

Paris at twilight, children playing in a square. When night falls, masked passers-by scurry about before returning home. In wide, static shots, decisively composed following the lines of streets and buildings, Mathilde Girard films the flow of people during lockdown as curfew begins – the erratic, perpetual movement of a fragmented people.

Paris at twilight, children playing in a square. When night falls, masked passers-by scurry about before returning home. In wide, static shots, decisively composed following the lines of streets and buildings, Mathilde Girard films the flow of people during lockdown as curfew begins – the erratic, perpetual movement of a fragmented people.