Derrière nos yeux (2018)

Three portraits, three men, solitary and vagabond. First, Patrick Dumont, who lives in the streets and walks around Paris with a relationship to places that fosters an original simplicity. Then Aliasare, a young painter who watches out for the world’s slivers and sparkles, during his strolls in the city. And finally, Hadrien Mossaz, who explores the woods and does not see. The three men will not meet, each only moving in their immediate environment and in a restricted temporality. What links this triptych is not theoretical, but rather sensitive, or indeed sensorial. There is something carnal in the filmmaking of Anton Bialas and it is not a matter of camera proximity or of predominance of natural elements. “What you will see, you will become”, this quotation that opens the film unveils his plan: humans are made of what they grasp. And via his kino-eye, what they see becomes matter: the heat of a ray of sun on the skin, the rugged thickness of bark on a tree, the fluidity of paint which slides under the brush…