Jean-François Garsi

Two men meet in Milan for 48 hours. They met for the first time, elsewhere. The voice-over speaks of this first weekend and the images are those of the second. The film brings them together and goes beyond them to evoke a city and a passion.

Avec Maman que man, Lionel Soukaz nous transporte dans un tourbillon d’expériences, de sensations, d’émotions et de fulgurances : si la mère manque (que man en verlan), elle ne cesse de brûler (quemar en espagnol), comme une piéta précieuse.

Two men meet in Milan for 48 hours. They met for the first time, elsewhere. The voice-over speaks of this first weekend and the images are those of the second. The film brings them together and goes beyond them to evoke a city and a passion.

Two men meet in Milan for 48 hours. They met for the first time, elsewhere. The voice-over speaks of this first weekend and the images are those of the second. The film brings them together and goes beyond them to evoke a city and a passion.

The radar looks for an off-screen which is created from scratch and which is what one wants it to be. So we start from there, research, we find something or we do not find anything. We use the plans in their entirety, the images recorded there or elsewhere are deprived of their meaning. They are reconstructed in the overall movement of the film which is summed up (condenses) to its technical characteristics: S8 colors, 18 fps, 8mn, magnetic track lying down. The sense / sense that takes place here for 8 minutes is only the sum / combination of random elements having their own weight but which cancel each other out / add to each other / divide / multiply each other. (CJC)