{"id":2833,"date":"2023-10-12T09:42:41","date_gmt":"2023-10-12T13:42:41","guid":{"rendered":"https:\/\/www.artpaysage.com\/?p=2833"},"modified":"2023-10-12T09:43:52","modified_gmt":"2023-10-12T13:43:52","slug":"inacheve-de-la-joie-32","status":"publish","type":"post","link":"https:\/\/www.artpaysage.com\/?p=2833","title":{"rendered":"Inachev\u00e9 de la joie &#8211; 32"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">L&rsquo;inachev\u00e9 de la joie &#8211; 32<\/h2>\n\n\n\n<div class=\"wp-block-uagb-blockquote uagb-block-5296fd99 uagb-blockquote__skin-quotation uagb-blockquote__align-left uagb-blockquote__style-style_2 uagb-blockquote__stack-img-none\"><blockquote class=\"uagb-blockquote\"><span class=\"uagb-blockquote__icon\"><svg width=\"20\" height=\"20\" viewBox=\"0 0 32 32\"><path d=\"M7.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.357-0.056 0.724-0.086 1.097-0.086zM25.031 14c3.866 0 7 3.134 7 7s-3.134 7-7 7-7-3.134-7-7l-0.031-1c0-7.732 6.268-14 14-14v4c-2.671 0-5.182 1.040-7.071 2.929-0.364 0.364-0.695 0.751-0.995 1.157 0.358-0.056 0.724-0.086 1.097-0.086z\"><\/path><\/svg><\/span><div class=\"uagb-blockquote__content\">Au refus global nous opposons la responsabilit\u00e9 enti\u00e8re<\/div><footer><div class=\"uagb-blockquote__author-wrap uagb-blockquote__author-at-left\"><cite class=\"uagb-blockquote__author\">Manifeste du refus global<\/cite><\/div><\/footer><\/blockquote><\/div>\n\n\n\n<div class=\"wp-block-stackable-divider stk-block-divider stk-block stk-6732cb1\" data-block-id=\"6732cb1\"><hr class=\"stk-block-divider__hr\"\/><\/div>\n\n\n\n<pre class=\"wp-block-preformatted\">7 paysages de Robert Morin,  Rencontres internationales du documentaire de Montr\u00e9al - RIDM en novembre 2022, vu au Cin\u00e9ma du parc, Montr\u00e9al, Qu`\u00e9bec\n\n\nComment l\u2019amour peut-il triompher? L\u2019amour du lieu, l\u2019amour de la rivi\u00e8re, si pr\u00e9cieux.\n\nRobert Morin a film\u00e9 un  m\u00e9andre de rivi\u00e8re et ses environs contemplativement, patiemment, en sept cadrages fixes,  pendant trois ans, en toute saison.\n\nJe vois la rivi\u00e8re, la force l\u2019eau, son abondance, ses cycles d\u2019orages et de paix. Je contemple sa beaut\u00e9 et ce qui l\u2019entoure, \u00e0 quelques pas de la maison de celui qui filme, qu\u2019elle approche de ses eaux.\n\nEaux gonfl\u00e9es, eaux gel\u00e9es, eaux des saisons, toujours mobiles. Comme la vie.\n\nCe n\u2019est pas cependant la m\u00e9taphore choisie par celui \u2013 ou ce \u2013 qui filme.\n\nLe temps. Et pourtant, il s\u2019agit bien du lieu et de ses espaces-temps qui est film\u00e9.\n\nLa cam\u00e9ra est-elle sujet? Si elle l\u2019est, elle est enferm\u00e9e, patiente, immobile.\n\nL\u2019image de cette immobilit\u00e9 coule d\u2019une sc\u00e8ne \u00e0 l\u2019autre par la mobilit\u00e9 de l\u2019eau. La rivi\u00e8re, son coude, son m\u00e9andre, l\u00e0 o\u00f9 elle change de sens, est film\u00e9e dans le mouvement de ses changements. Ce sont ces changements qui mobilisent l\u2019image. Ils font que la cam\u00e9ra et le cin\u00e9aste se d\u00e9placent d\u2019une sc\u00e8ne \u00e0 l\u2019autre.\n\nLa bande sonore remarquable de Catherine Van Der Donckt est satur\u00e9e de bruits, de chants, ceux de la for\u00eat, de la rive, de leurs vivants, et des sons de l\u2019\u00e9coulement de la rivi\u00e8re, mais aussi ceux d\u2019autres lieux. \n\nSon abondance est toujours pr\u00e9gnante, alors la nature est fantasm\u00e9e pour sa pr\u00e9sence sensible si ch\u00e8re \u00e0 celui qui enregistre le lieu.\n\nPr\u00e9sence sensible, changeante, toujours changeante, si souvent merveilleuse et merveilleusement capt\u00e9e. L\u2019eau fait cela \u00e0 l\u2019image, elle la mouille, et la fait glisser vers l\u2019autre s\u00e9quence. Ce glissement est appel\u00e9 le temps. C\u2019est l\u2019\u00e9v\u00e8nement-rivi\u00e8re qui se poursuit, rencontr\u00e9 par les \u00e9v\u00e8nements-cam\u00e9ra. \n\nLe cin\u00e9aste, celui qui met en \u0153uvre ces \u00e9v\u00e8nements-cam\u00e9ra n\u2019est pas visible, bien qu\u2019il en fasse partie. Son absence d\u00e9signe la rivi\u00e8re et ses alentours, proche de l\u2019habitat, comme le sujet du film. Le cin\u00e9aste est avec le lieu dans le lieu.\n\nD\u2019une certaine fa\u00e7on, c\u2019est un lieu qui se filme, qui s\u2019enregistre, un des vivants de ce lieu qui l\u2019enregistre comme les autres vivants. Chacun des vivants enregistrant le lieu \u00e0 sa fa\u00e7on. Cr\u00e9ant une cha\u00eene d\u2019\u00e9v\u00e8nements avec l\u2019\u00e9v\u00e8nement-rivi\u00e8re.\n\nCes vivants, si on les entend dans la bande sonore on ne les voit presque pas.\n\nOn ne sait pas pourquoi\nOn ne peut pas le savoir.\n\nAu printemps, les oiseaux sont si pr\u00e9sents et beaucoup nous quittent \u00e0 l\u2019automne. Leurs piaillements et chants se font plus rares.\n\nLe cin\u00e9aste imagine une guerre*, pour montrer la fragilit\u00e9 du lieu et son amour pour ce lieu. La guerre s\u2019opposant \u00e0 l\u2019amour.\n\nPourtant, la trag\u00e9die n\u2019est-elle pas que les chants des oiseaux et  les bruissements des animaux diminuent, et s\u2019\u00e9teindront peut-\u00eatre un jour alors que le son de la rivi\u00e8re restera le m\u00eame?\n\nUltimement, le lieu reprend ses droits, la rivi\u00e8re coule, encha\u00eene ses cycles d\u2019eau, oublie les humains ( la cam\u00e9ra la quitte \u00e0 la nuit). Elle g\u00e8le, fond, tourne, court, d\u00e9vale, bouillonne, envahit, frappe \u00e0 la porte de la maison \u2014 se rappelle peut-\u00eatre. Non loin de la maison, un homme la guette encore. Amoureux.\n\nL\u2019amour peut triompher, un amour du lieu, tenace, inflexible, p\u00e9tri de contemplation et d\u2019\u00e9coute. \n\nUn lieu habit\u00e9.\n\nLa force du regard, de la force de l\u2019action qu\u2019est le cin\u00e9ma du passage du temps, c\u2019est-\u00e0-dire des transformations de l\u2019espace-temps d\u2019un lieu peut triompher. La force de l\u2019amour du cin\u00e9ma du cin\u00e9aste toujours audacieux peut d\u00e9poser en nous un autre espace-temps o\u00f9 sont et seront rejou\u00e9s les chants, les bruissements, o\u00f9 la rivi\u00e8re et ce qu\u2019elle emporte reviendront au centre de nos espoirs et de nos vies.\n\n*Quand apparaissent des h\u00e9licopt\u00e8res et des fantassins, un peuple en fuite, on pourrait se demander si la rivi\u00e8re est celle de Conrad ou de Coppola? Quel monstre se cache donc en ses m\u00e9andres. Le cin\u00e9ma? Un certain cin\u00e9ma-spectacle d\u00e9jou\u00e9 par le r\u00e9alisateur qui veut simplement enregistrer ce qui est, le lieu. La rivi\u00e8re fait partie du lieu habit\u00e9 par le cin\u00e9aste, et ce qui pourrait effrayer est son ultime beaut\u00e9. Le seul et dernier film possible?\n<\/pre>\n\n\n\n<div class=\"wp-block-stackable-divider stk-block-divider stk-block stk-b33adfa\" data-block-id=\"b33adfa\"><hr class=\"stk-block-divider__hr\"\/><\/div>\n\n\n\n\n\n<div class=\"wp-block-stackable-divider stk-block-divider stk-block stk-b76fa39\" data-block-id=\"b76fa39\"><hr class=\"stk-block-divider__hr\"\/><\/div>\n\n\n","protected":false},"excerpt":{"rendered":"<p>L&rsquo;inachev\u00e9 de la joie &#8211; 32 7 paysages de Robert Morin, Rencontres internationales du documentaire de Montr\u00e9al &#8211; RIDM en novembre 2022, vu au Cin\u00e9ma du parc, Montr\u00e9al, Qu`\u00e9bec Comment l\u2019amour peut-il triompher? L\u2019amour du lieu, l\u2019amour de la rivi\u00e8re, si pr\u00e9cieux. Robert Morin a film\u00e9 un m\u00e9andre de rivi\u00e8re et ses environs contemplativement, patiemment, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_uag_custom_page_level_css":"","wpupg_custom_link":[],"wpupg_custom_link_behaviour":[],"wpupg_custom_link_nofollow":[],"wpupg_custom_image":[],"wpupg_custom_image_id":[],"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[49,78,46,100,42,44,26,37],"tags":[70],"class_list":["post-2833","post","type-post","status-publish","format-standard","hentry","category-don","category-en-cours-de-publication","category-essai","category-montreal-rue-du-parc-quebec","category-poesie","category-recit","category-sie-web","category-web","tag-inacheve"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Inachev\u00e9 de la joie - 32 - Claude Par\u00e9 po\u00e8te<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artpaysage.com\/?p=2833\" \/>\n<meta property=\"og:locale\" content=\"fr_CA\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Inachev\u00e9 de la joie - 32 - Claude Par\u00e9 po\u00e8te\" \/>\n<meta property=\"og:description\" content=\"L&rsquo;inachev\u00e9 de la joie &#8211; 32 7 paysages de Robert Morin, Rencontres internationales du documentaire de Montr\u00e9al - RIDM en novembre 2022, vu au Cin\u00e9ma du parc, Montr\u00e9al, Qu`\u00e9bec Comment l\u2019amour peut-il triompher? 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L\u2019amour du lieu, l\u2019amour de la rivi\u00e8re, si pr\u00e9cieux. Robert Morin a film\u00e9 un m\u00e9andre de rivi\u00e8re et ses environs contemplativement, patiemment,&hellip;","_links":{"self":[{"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=\/wp\/v2\/posts\/2833","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2833"}],"version-history":[{"count":2,"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=\/wp\/v2\/posts\/2833\/revisions"}],"predecessor-version":[{"id":2836,"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=\/wp\/v2\/posts\/2833\/revisions\/2836"}],"wp:attachment":[{"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2833"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2833"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artpaysage.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2833"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}