Inside his book-filled office, where our time is bundled into thousands of years of philosophical and poetical thought, Michel Deguy – from the height of his eighty-eight years – continues to declaim and forcefully express his opinions. The philosopher poet exhorts and suggests continuous cues, launches ecological alarms, and poetizes his thoughts of alert; he makes himself a tireless bearer of a reflective language, and is a sentinel of works in their usage, of words, and of “things.” Albeit formally modest, the film has a great ambition: to start from a conversation with the philosopher in order to get to the heart of poetical writing as it is, on the cusp of his “ecopoeticological” thought.
Marie-Claude Treilhou (Toulouse, France, 1948) is a director and actress. After participating in the movie Corps à cœur (1978) by Paul Vecchiali, Simone Barbès ou la vertu marked her debut as a director. Alternating fiction and documentaries, in 1983 she received the Jean-Vigo Award for the short Lourdes, l’hiver. The stars of her films are primarily simple people who must face the great changes of history, like in the documentaries Il était une fois la télé (1985) and Paroisses, paroissiens, paroissiennes (1995), or people who are more inclined to employment which transforms them, in a message of enthusiasm, perfectionism, and grace, as in En cours de musique (2000), Les métamorphoses du chœur (2004), and Couleurs d’orchestre (2007).
filmografia essenziale/essential filmographySimone Barbès ou la vertu (1980), Lourdes, l’hiver (cm, doc., 1983), Il était une fois la télé (doc., 1985), L’âne qui a bu la lune (1988), Le jour des rois (1991), Paroisses, paroissiens, paroissiennes (doc., 1995), En cours de musique (doc., 2000), Un petit cas de conscience (2002), Les métamorphoses du chœur (doc., 2004), Couleurs d’orchestre (doc., 2007), Il était une fois la télé, 30 ans après (doc., 2015), Comme si, comme ça (doc., 2019).
“Documentaries in general and the entire world of documentary cinema convey interesting projects, and takes on risks. Unfortunately, the greater public usually doesn’t get to see them at the cinema. Writing documentaries is discriminated against. Writing which is considered noble is fiction, which is generally the realm of men; woman are more present in documentaries and this is a more complex choice.”
COMME SI, COMME ÇA
Francia/France, 2019, 62’, col.
comme si, comme ça
Marc-André Batigne, Pascale Granel
Graciela Barrault, Juliette Matthy, François Vatin
Michel Deguy, Sylvie Deguy, Marie-Armelle Deguy, Nicolas Deguy, Jacques Bonnaffé (voce/voice), Marie-Claude Treilhou (voce/voice)