Koyamaru, l’Hiver et le Printemps

In the field, the boom is one of the stylistic feats of filmmaking in the 70s. For the sake of utmost transparency, the film’s production methods (industrial, commercial) had to appear in the frame. This was the prerequisite that allowed reality to break through to the surface of the image, never per se, but always re-presented. In principle, reflecting the mode of production in the image itself was meant to create a critical and salutary distance for the spectator, whose awareness was no longer duped. This is quite the opposite in Koyamaru, where all the processes of this rhetoric have been used to act against themselves. The village, which is never shown, buried under the snow, is a sheer simulacrum, tossed about by the waves of History. (Yann Lardeau)