Dogora

Dogora

Dogora

  • Patrice Leconte
  • France
  • 2004, 80 min
Script: Patrice Leconte
Photography: Jean–Marie Dreujou
Editing: Joëlle Hache
Sound: Didier Lizé, Jean Goudier, Dominique Hennequin
Music: Etienne Perruchon
Color: Colour
Language: French
Synopsis

It begins with music, a composition by Etienne Perruchon that accompanies the director's trip through the Cambodian kingdom. Music precedes the image, shaping and organising the film. _ The radiant shots do not evoke a past in which millions of people were killed under the Khmer Rouge. The film's subjective emotion, extending as far as into a minefield, endeavours to exalt the beauty of the land and the contemporary life it is home to. The film's only text is the director's expressed intention to create a work uniquely musical in character, without characters, and without a story. _ The Dogorien language, used in Perruchon's symphonic suite, is non-existent; it is the invention of the composer, whose design was to create a pure language of emotion, composed of Slavic phonemes (the chorus is sung by a Bulgarian children's choir). _ The Slavic accents of the musical piece are transported through the Cambodian landscape, and this special combination is a reference to created film landscapes. It is as though the ethnically inauthentic music reminds us that the emotions experienced through film can be both universal and undifferentiating. _ In comparison with the famous trilogy by Godfrey Reggio, focusing on the relationship between man, nature, and technology, Leconte's film puts its faith more in using a stream of refined images, it is born out of the moment and out of music, which, however, unlike the minimalism of Glass, offers an operatic departure point.

Photo Gallery

 
Festival edition: 2006
Sections: Living Square
Exhibition format: 35 mm
Subtitle languages: Czech

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