THE KNEE reclaims a cultural tradition universal fable. We imagined our film in the same frame by adapting to our times, which gives a true urban tale of XXI century. Then: "There was once a cosmopolitan Paris, flourished across some funny stories about very scary monster" who's who ',' which is what "or" what is that. " One winter evening, it was organized a party where guests were the "who" and "what." The evening then revealed to light the difficulty of "who" to accept "what" and vice versa in their particularity ... "
As in all stories, our short film depicts a confrontation: the citizen against another, a two-way encounter. Beyond comparison, there 's the eye that carries over each other and especially the image that sends and receives the other.
What exactly? RANDY
, quarantine, French of African origin, senior officer and a good father, RICHARD, thirties French from Brittany, a trader bachelor, DIANA, high society girl neuilléenne, rentier unfortunate who takes refuge in the decadence, the money is it happiness? - MARGAUX, French Hungarian-born young adult contemptuous businesswoman. What about Diego, "said Sapper, French of African descent, self-made man, black chic bon-bon-kind, smart, seductive, charming or Khaly, French domtomien, eccentric, awkward, boorish, flirty and without the gene. Sophie-Claire, a pretty brunette in her thirties, technocrat, a counselor in a cabinet and senior civil servant girl or SARAH, French Canadian, creative director in an advertising agency, and flamboyant Independent ...
All these young people, through their actions full of awkwardness [Sarah seduces Sophie-Claire, the two women flirt at a moment when Sarah returns seeking his glass, she is approached by RICHARD under the eyes full of rage Sophie-Claire. The latter, feeling betrayed, turned his head and did not see Sarah repel the intruder. Khaly not notice the plight of Sophie-Claire, he puts his hand on his shoulder, which brought out the girl of his gongs. In her rage, she called him a "dirty negro".] We can understand that the monster stops being "I," but become "we." Also, Surfing through their thoughts on ignorance [Khaly confides to Richard that is routinely monitored by all fonts, even insurance. Richard MARGAUX may be surprised that because she has a French accent. Margaux is shocked to see Richard enjoyed good wine.] We realize that "we" is a mirror which reflected discrimination.
From the beginning, we relied on the artistic side, which is why we have devised an original script: an evening of celebration and place of posting. So to build a plot around the eyes of others. As the title indicates the film "THE KNEE," the story of our short film is a metaphor. To avoid the weary spectator harping a pattern already seen, we will offer a spooky angle: the small moments of an evening.
What is identity? Is the theme of our project. It is intended as a civic contribution. Through this short film, we want to show the incongruous events or attitudes that in some cases, prove to identification or conviction.
Jean Louis DEGONZAQUES
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