SYNOPSIS

On a cold morning in a big city, a woman in her 30s is going through an existential crisis: fleeing from a man who does not see her, she wanders the streets in tears, lost, needing attention. Everything around her is aggressive: the stares of passers-by or the absence thereof, the ads especially challenge her with defiance... She takes shelter in a museum, where she will find calm and make a surrealistic encounter with some paintings about the origins of capitalism. A part of history on which she will cast a glance, her own glance.

INTENTION

The origin of this film lies in a time I spent alone in Amsterdam in 2017, as I was trying to free myself from a relationship. The #metoo movement had not yet erupted, and society was not experiencing its current questioning. In this moment of collective blindness, I had not realized that what I needed to free myself from was rather a dependence on the attention of others to feel existing, and that these "others" were mostly men.

I like to play with stereotypes and codes to reveal the dysfunctions of our collective systems. The Figure’s Fall will use a mix of languages that will bring a specific experience to the viewer: the character has no name, she is the figure of a young woman; several voiceovers are openly commenting on her, representing the injunctions she receives from society; she will speak for herself at the end of the film only, breaking free and finding her agency. Moreover, a 3D scene will animate Dutch paintings to illustrate the vision of how she can reset her gaze, bringing a new perspective on the history of capitalism.

This play on style is a way of addressing the difficulties of being a woman, facing many challenges in the process of shaping one's identity.