Mourir a trente ans

The film recreates, through the shots taken by the director himself, the political and existential path of two activists, part of the “movement” from 1965 to 1975, trying to find the reasons behind the suicide of one of the two men. Two different stories and two different results illustrate the evolution of an entire generation.

His name was Michel Recanati
He disappeared in 1978
I searched for so long, that I needed to make this movie to get over his absence.
In 1980, proof and confirmation of his suicide.

To avoid spelling mistakes, I learned how to use a camera at a young age.
The first one had fixed focal length lens: I just needed to get closer or farther; close-up, long shot.
A week’s pay for a few rolls of film.
It was fun to film friends, family, dogs.

1965. Vietnam. We are 14. We’re leaving childhood.
Politics replaces dreams and joyful ideas.
Different images and sounds take over,
Napalm, B52.
I am an activist, but I don’t leave my camera.
We throw ourselves in the creation of the first high school committees that will become the frontline elements of the barricades in May.
I join the “Jeuness Communiste Révolutionnaire”, provided I could keep on filming.
I meet Michel Recanati.

We are inseparable for the next ten years, hatred for fascism,
demonstrations, March, April, May 1968, meetings,
Enthusiasm for the fighting people, congresses,
Chile, meetings, Cuba, Krivine, Cambodia,
1974… Projects and questions,

My generation, our illusions
A drowning feeling, too much ideology,
Caustic memories,
Accidents and suicides, comrades disappear
Michel disappears, Michel is dead.
The others acknowledge with a sad smile.

I had filmed everything. I treasured everything and I put everything together.
(Romain Goupil)

Director and screenplay: Romain Goupil.
Director of photography: Sophie Goupil, Jean Chiabaut, Renan Polles (16mm, b/w).
Editor: Françoise Prenant.
Sound: Dominique Dalmasso, Jacques Kebadian.
Production company: Marin Karmitz for MK2 Production.