Victor Gresard

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.

A man awakes in the desert. As he walks towards the nearest town, he realises mankind has disappeared. Forsaken by the flood, he utters the remains of a ravaged memory like an amnesic chronicler adrift. When the memory of an old love re-enters his mind, the past begins to resurface.

A few days before the museum reopens, director Marie Losier is invited to be the first to re-enter and film her discovery of the place. During this night at the museum, she wanders from room to room and films the enigmatic creatures she encounters - animals, works, but also the artists and accomplices she has invited. These successive apparitions compose the scenes of a surrealist film that spectators can discover in a giant projection on the façade of the museum during an exceptional evening.

As the song says: "I'm 26 years old but only 4 useful. I don't understand anything". 8 people read aloud private texts (sms, letters, emails) written or received by Daphné Hérétakis in the months leading up to her 26th birthday. The film proposes to take these texts out of the realm of intimacy and put them back into the public space and the collective nature of the film. The result is a romantic and absurd cadavre exquis, which addresses slightly depressed sensibilities.