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Quine – by M. Remaury, W. Laboury

At the lottery, what's the point of filling the grid when you miss number one ?

0 – 5 | 2014 | Animation | France | Love | Romance

As it often occurs, a question stimulates an author to create a work of art in order to answere that very query and inevitably he / she ends up to generate a wohle of new different questions ad infinitum. Margaux  Remaury‘s and William Laboury‘s (read our Focus On) short-animation Quine does not differ from this peculiar typology of creative genesis.

“Au loto, à quoi bon remplir sa grille quand il nous manque le numéro un?” (At the lottery, what’s the point of filling the grid when you miss number one?). This is the simple question that supports the narration of Remaury and Laboury that present a young couple, a man and a woman, in a Bingo Hall isolated in a discussion that inspects the labile and complicated boundaries between friendship and love, attraction and jealousy.

In a bit more than two minutes this particular animation, hand-drawn by Margaux Remaury and later coloured with RotoBrush in After Effects, tells us a fragile balance between the breakage and the birth of a relation. Thin lines and tenuous colours makes the two central figures emerge. A man and a woman and their thick net of expressed and omitted words, based on real recordings taken during a lottery in the suburbs of Paris; an ensemble of intimate feelings literally isolated by Remaury’s drawings from the rest of the chatting crowd and environment that surround them.

A peculiar typology of narration that seems to be suitable to William Laboury as his last short-movie Hotaru suggests. An inquisitive typology, hence, where not only the creative act arises upon a question, but also the narrative structure is developped around a series of questions. A dialogic form, indeed, vehiculated by the female character who continuously asks a series of sometimes evasive, curious and shy quieries to the male character who attempts to elude them. Questions that are more worthful of their answers, not merely for their direct content, but mostly for what they conceal, that is the the very will of asking these questions. After all art itself is the will of asking something to someone, isn’t it?

Francesco Bozzi

Francesco Bozzi

Nato nel 1989, mi sono laureato in Letterature comparate alla Utrecht University nel 2015 ma, fuggendo l’accademia, cerco di scrivere del cinema che guardo, dello sport che seguo, e della muscia che sento.

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