We stayed until the end. We read the entire credits. It’s easier doing that with someone else. One line each and then we get the feedback from one another – it helps catching up with the high-speed pace of the U-turn process, the wickedness of the strategy and the exponential growth of the actors involved.
Those credits were too long: David Vincent, Martin Tupper, Art Keller, Nancy Crater, Gladys Clover… those were the ones that also had a career on television, at least through the achievement of homonymy. We remember that at the beginning of the film we were only students, assistants, and those names, among others, were ringing a bell, like a fiction, even though we didn’t know it was actually one. That complex system of expansion gradually revealed itself. Until one night, when the future happens to be the past (we turn around and contemplate our youth), we realise that all of this has mattered a lot and
that all we have done so far is continuing working on this patchwork that others had begun. Square by square, that blanket keeps us warm when it’s cold. That’s nice. If replicants dream of electric sheep, they too feel sometimes cold.”
As Operational Solidarity is a collaboration uniting artistic approaches that, with different visual aspects, all have in common a significant narrative potential. A potential that marks the effective absence of story as such.
Well beyond a simple transgenerational view between Arnaud Maguet, Olivier Millagou and Paul Devautour, this project imagined like Found Footage, (a cinema editing technique that consists of recuperating the processed films, then putting them all together to give another meaning and obtain a new film) proceeding in collaboration with three artists who have selected together a choice of works representing their artistic