Minuit à quatorze heures

An unfilmable Surrealist screenplay finds an unexpected counterpart in a collection of unfinished footage, home movies, and abandoned film fragments. Rather than illustrating the text, the images unfold alongside it, creating shifting correspondences that are alternately literal, elusive, and contradictory. Recorded on an aging cassette recorder, the narration acquires the detached quality of an archival trace, while the visual and spoken films remain deliberately out of sync. Together, they form a work where meaning emerges from the distance between image and language, deepening the unfinished nature of the original script rather than resolving it.