// Like peacocks, they have the purity of the rock, to the proud plumage, they are just humble stones, their walk takes them where the wind is blowing,
from the light to a brighter light, and the cell has been filled with joy. //
Cut-up based on The book of poverty and death, R. M. Rilke

The cold, strong marble surface of the desk recalls that of the grave. Smooth, veined, inert, it looks just like cells
through a microscope. From the visitor's side of the desk, a woman is standing, in her twenties, while her close family
is dealing with a loss by playing table-football. In a strong and symbolic scene, it is time for her to face among many,
the choice of her father's coffin.

The funeral office is frozen. It seems that for ages, the same set has always been ready for each appointment
with the seller of the deceased's last home. There is something about drama and heaviness, suspended
in the office. What is hidden behind this red velvet? Who knows, nothing, maybe. There is something
in this illusion that there is more in the wealthy death than in the marbleless death.

From this side of the desk, the brightness gives even life to the artificial flowers. A vase full of peacock feathers,
symbol of immortality, ties the two atmospheres together. The funeral urns are displayed as luxurious relics.
The fake marble is like a sea on which an egg, a shell and a calendar, recalling birth and time, seem to float.

+ Mecarillos is the second short film - 18'08'' - realised by Aurélie Pernet. Goodbye, father constitues the 11th scene's scenery.




© / by amélie freyche leblanc / 2016-8 / all rights reserved