The grain of the image: back to film stock
Since the start of the 2000s, the race for pixels and formats (HD, 2, 4, 8K, etc.) brought on by all-digital technology seems to make the real truer than the reality it represents. With a digital camera, by pressing REC, the sequence shot can potentially last as long as the battery charge, the filmmaker “misses” nothing, while being able to change perspective. However, some filmmakers intend to reconnect with analogue filmmaking and its “limits”. They are looking for “the grain of the image”, which is related to the opacity of reality, its depth no doubt, something that escapes the lens both literally and figuratively. What does this return of film stock in contemporary documentary filmmaking mean and what questions does it pose for those who use it?
Manuel Muñoz, Rubicón
Laila Pakalniņa, The First Bridge
Pauline Penichout, Mat et les gravitantes
Dominga Sotomayor, Carla Simon, Correspondances
Thomas Imbach, Nemesis
Emmanuel Chicon (Visions du Réel)