COSMODRAMA (Nouvel essai sur l'entendement humain)
COSMODRAMA
(A New Essay on Human Understanding)

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PREMIERE MONDIALE WORLD PREMIERE
INTERNATIONAL FILM
FESTIVAL ROTTERDAM
janvier january 2015

1h55, 2015
Scénario, réalisation, montage script, direction, editing : Philippe Fernandez
Produit par produced by ATOPIC (Christophe Gougeon)

en coproduction avec in coproduction with Lugo Prod & The Hot Line
Image director of photography : Fred Serve
Ingénieur du son sound enginer : Philippe Deschamps
Décor set decoration : Paul Chapelle
Musique music by : Sylvain Quément
Monteur son sound editor : Vincent Pateau / Mixage sound mix : Alexis Venot
Etalonnage colorist : Yov Moor
Effets spéciaux special effects : Nicolas Kunç / Lugo Prod (Antoine Favreau) / Olivier Defaye / Emmanuel Vincent
Graphisme affiche et titres animés
graphic design : ABM Studio & Clément Sajous
avec la participation with financial supports du Centre National de la Cinématographie,
le soutien de la Région Poitou-Charentes, du département de la Charente Maritime, de la Ville de La Rochelle
Tourné aux filming location Studios de l'Océan, La Rochelle. 

 
avec cast

JACKIE BERROYER
BERNARD BLANCAN
EMILIA DÉ
ROU-BERNAL
ORTÈS HOLZ
SERGE LARIVIÈRE
SASCHA LEY
EMMANUEL MOYNOT
STEFANIE SCHÜLER
     

aperçu trailer

extraits de la BO excerpts from the original soundtrack

interview dans STRABIC.FR

 

Un vaisseau spatial perdu dans l'univers, véhiculant une petite équipe d'explorateurs, qui ne savent plus, suite à une cryogénisation probablement trop longue, ni où ils sont, ni où ils vont, ni d'où ils viennent. L'essentiel de leur activité consiste donc à formuler, à partir des observations qu'ils parviennent à faire, des hypothèses sur ces sujets. La plupart dépassent largement l'entendement, et les discussions qu'elles entraînent tournent autour d'un polémique "principe anthropique", qui croit en un univers orienté vers l'avènement d’une pensée capable de l’observer.

A space-ship is lost in space, conveying a small team of scientists who no longer know, probably due to too long a cryogenisation period, where they are, where they're going, or where they've come from.
They therefore spend most of their time formulating hypotheses on these questions, in relation to observations they manage to make. Most such hypotheses surpass understanding, and often provoke lively discussions, leading to a climax over a controversial “anthropic principle”, which attempts to explain the evolution of the universe through that of thought which is capable of observing it.


Empruntant sa forme aux premières séries télévisées de science-fiction, le film comporte quatorze épisodes, basés sur quelques hypothèses cosmologiques scientifiquement banales mais néanmoins éprouvantes pour l'esprit. Soit quatorze stations à méditer, et un nouveau chemin de croix, car il y a bien un crucifié dans cette histoire, l'être pensant, abandonné par Dieu, livré à l'incomplétude insupportable de la connaissance.


The film is made up of fourteen episodes, echoing the first science-fiction series, in which almost every one corresponds to a cosmological hypotheses, which may tease the mind, but is perfectly scientific. In other words, fourteen 'stations' on which to meditate, which make up a new "way of the cross", as there's a crucified character in the story, the thinking being,
abandoned by God, yieldeunbearable ending of the knowledge.




  

 

Interview by Urszula Lipinska

What was the initial idea for the film?
All my films have for subject our relationship to the universe. I try to make a philosophical cinema, and I am not very interested by the description of the human feelings and emotions like many filmmakers are. And isn't a spaceship the best place to develop this purpose?

How did the process of constructing the spaceship and cosmic space look like?
I did a lot of drawings and photomontages to visualize the space ship. I had the intuition from the beginning that there should not be external views of it. Then, it became more and more clear that I wanted to put in pictures a metaphor of human thought, with, for example, a lot of endless corridors, different cells appearing like different approaches of reality, and no possible exit. For the cosmic space, I wanted that what we see behind the windows looks like photographs coming from books or Internet, what is the case in fact!

Could you tell something more about the title? Is it possible to treat it as a name of the genre?
I didn't think of that, but I agree! For me, the title must be simple and efficient like a title of a science fiction film, since my friends didn't agree the first which was "Why something rather than nothing?". The second one came from "cosmorama", an old spectacle (of the eighteenth century) showing to the public different views of the world, and I changed it a little bit to introduce in it the word drama, ironically because there is no real drama in the story, neither in my other films, because the most important drama is this mystery which whom we have to live… and die.     

 


In what time the action takes place? Is it past or future?

It takes place in the abstract time of the thought. The spaceship probably left the Earth in the early seventies, but the scientific theories you can hear are the most recent! 

Could you tell something more on aesthetic inspirations for the film?
Obviously the first science-fiction series like Star Trek or Cosmos 99, but with a big purification, with a good dose of minimalism to reach a kind of abstraction and therefore the world of the ideas. And also unseen pictures.

Why the story has 14 chapters?
First I wanted to give the idea to the spectators to watch all the episodes of a season of a series all at once.  After that, because the psychologist of the mission is suffering not to have the total knowledge, and doesn't accept the mystery, I had the idea to give to the film the same structure than the Stations of the Cross. Don't ask me how it happened, that is the mystery of artistic creation... But so I was able to superpose two kinds of discourses, which both try to give answers (very opposite ones) to the same questions.

Is it possible to treat this spaceship and its inhabitants as a microsociety?
You can, but the relationships between each of them are not really interesting to me, and all in the film, as well as in my whole artistic language, is metaphoric. So this microsociety is rather an image of us, poor humans watching at the stars and searching the reasons and sense of our existence…  

 
   

SF (Suite Filmosophique)