Summary

If it is films which reveal ‘the choreographic fatality of cinematographic intervention’(Dominique Paini) this one henceforth very much belongs-dance gestures, in slow motion, distorted, halted, impregnate the film procession in a commentary-magnificent-by its own unfolding (back and forth). In the tradition of the great Adebar (Peter Kubelka, 1957), Danseurs à la Gay Pride 2001 probe the origins of cinematographic movement from a photogrammatical treatment, based on the ecstatic effect that the repetition of a movement procures- hands, faces, hips- shown in slow motion.