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LE BOUDIN (2014)
HD video, 16:9, color, Dolby 5.1 sound, 16 min., Germany - Portugal
Support: Berliner Künstlerprogramm des DAAD
Awards: Sesterce d’or La Mobilière at Visions du Réel
Distribution: Agência da Curta Metragem

‘None of the people who were asked about me had
seen me.’ Le Boudin documents the encounter of the
young Elias Geißler with the testimony of Nuno Fialho
who at the age of 16 was forced to enlist in the French
Foreign Legion. ‘I didn’t enlist. They enlisted me.’

Festivals/Screenings (selection)
2017 - HANGAR, Portugal
2016 - Iran International Film Festival, Iran
2016 - Bienal de Fotografia de Vila Franca de Xira, Portugal
2016 - Internationale Kurzfilmtage Winterthur – Salomé Lamas Person in Focus, Switzerland
2016 - Iberodocs - Ibero-American Documentary Film Festival Scotland, Special Programme, Scotland
2016 - Images Festival, Canada
2016 - Ann Harbor, USA
2015 - HANGAR – Solo Show, Portugal
2015 - Bogotá Short Film Festival, Colombia
2015 - Bozar Palais des Beaux-Arts, Belgium
2015 - Kassel DokFest, Germany
2015 - Ain Shams University, Egypt
2015 - Panorama of European Cinema - Salomé Lamas Focus, Egypt
2015 - Olympia International Film Festival, Greece
2015 – Unisersitaat Basel, Switzerland
2015 - Le P'tit Ciné, Belgium
2015 - DocsKingdom International Film Seminar, Portugal
2015 - Panorama Mostra Portuguesa de Documentário, Portugal
2015 - Media City Film Festival, Canada
2015 - Centre d'Art Contemporain Genève - Salomé Lamas Focus, Switzerland
2015 - CAC Contemporary Art Center Vilnius, Lithuania
2015 - Visions du Réel, Switzerland
2015 - Museu de Arte Contemporânea de Serralves - Exhibition Salomé Lamas: Parafiction, Portugal
2014 - Curtas Vila do Conde, Portugal

Video Installation Edition: Fundação Calouste Gulbenkian - Coleção Moderna do Museu Calouste Gulbenkian - collection, Portugal

In 2011 did an interview with Nuno Fialho. It might have
been the toughest interview I have directed, due to the
fact that remembering was a delicate experience for
Nuno. Because asking someone to remenber is cruel.
It explains the fragmented discourse and the abstractions.
In LE BOUDIN it is Elias (the German youngster)
who says: “I’m looking at that wardrobe, but it was smaller”
but it had been Nuno looking at the wardrobe in
the room where we stand who had invocated it.
I never knew the crime he committed. Neither I have
asked. We only know what happened after that event;
and we have no clue where he might be now or, on the
other hand, we only know that where Nuno lives “no one
is concerned with anything”
We watch cut-ups, copy paste of excerpts where nothing
was rewritten.
Nuno was sixteen years-old when he left Portugal
to go to the French Foreign Legion integrating the
82ºairborne platoon at the urban guerrilla division.
In LE BOUDIN (French Foreign Legion march) Elias
Geißler a sixteen year-old German actor represents
Nuno’s narrative, whose voice appears from time to
time.
We observe the friction between Elias’ androgynous
figure and Nuno’s deformed voice. Between the boy that
stumbles over the words on a text that he doesn’t understand,
that theatrically pretends to feel and exceeds,
and a voice that contains the traces of its narrative.
A voice (Nuno) that didn’t choose the story that narrates,
but that knows it well; contrasts with the voice
(Elias) that chose the story that represents on screen.
Nuno didn’t choose, he was lead to x and than to y, “I
didn’t enlist. They enlisted me. (...) Because if it were
now or if I had been given the choice…”
When the first mission is described, the one where
the village was decimated for the establishment of a
game reverse in Africa, the same game reserve that
is later portrayed and broadcasted by the National
Geogra-phic channel; the hygienization is clear and
the criticism that may prevail resonates with the
display of this film. While, simultaneously it highlights
the paradox that su-rrounds classified missions lead
by governments and private entities.
LE BOUDIN is the fragile documentation of the encounter
of Elias with Nuno’s account.
Berlin, 2014

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