In 1929, Roger Salardenne wrote Le Culte de la nudité based on nudist experiments in Weimar Germany. In Beirut, spring 2014, Sélim Mourad suggested an extreme experiment based on this text to five actors: to confine themselves, naked, in a house and question the limits of the body. It would be an “exposure on all levels” as he explained to one of the actors in the film.
After This Little Father Obsession (VdR, 2016), Sélim Mourad offers a new work that addresses the question of the cinematographical representation of bodies. Between performance and cinematographical essay, Linceul immerses us in a sensual space where the canons of classical beauty are called into question. Bodies trace out impossible movements in a timeless bubble, where it is a matter of flesh, poetry and skin. A response, perhaps, to the conflicts that are taking place outside this carnal microcosm designated by the film. Outside, a new caliphate is being built. Here, the frontier that separates the interior from the exterior is a perpetual and unhealable wound.
Elena López Riera