The story is quite simply magnificent. In 1979, to thank the owner of the island of Logoden for authorising the filming of scenes for Mon Oncle d’Amérique, Alain Resnais offered this gentleman, Jean Fraysse, a highquality super 8 camera. From then on, Jean Fraysse became passionate about it and roamed the island with camera in hand, recording imagesof nature and his few loved ones. What is more, he recorded sounds: worknoises, sounds of nature, family conversations. He later gave it all to the Cinémathèque of Brittany. It was there that a young intern named Aurélie Bonamy discovered this discrete, forgotten treasure. Of her own accord she decided to organise the few shots, to number the sounds and edit and mix them separately in a series of vignettes. Although she had Fraysse’s permission, the two accomplices never met and have only ever spoken by telephone. So here is a unique piece, re-emerging from afar, about an amateur practice and its so obviously gracious modesty, now co-signed by authors separated by more than a generation and by space.The pertinent gentleness of the editing and mixing responds to the delicacy of the shots, allowing a sharp sense of observation, a deep love of theisolated terrain and its daily life to bloom without sensationalism – not forgetting a taste and a real mastery of cinema. Jean-Pierre REHM
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