Filmmaker, writer and film lecturer Eric Pauwels started his career with what he calls ‘cinéma mémoire’, or ethnographic documentary.
He obtained his PHD in cinematography in Paris with a documentary on the ‘possessed’ in Indonesia.
Afterwards, eager to step out of his role of being a spectator, Pauwels begins to make dance videos and works of fiction.
The latter are so-called ‘half films’: half documentary, half fiction.
But which distance does one keep to one’s subjects? Pauwels’ answer is clear: eliminate the distance and become a subject amongst your subjects.
For him, cinema and life should ideally coincide; fiction should penetrate documentary.
A film made of objects, faces and texts; of lost cats, of found pictures, cut-outs, recreations; a poetic subversion in diary form, one that breaks the calendar into a novel, driving relentlessly as a journey to the end of the world.
On the death of his mother, a filmmaker makes a film to see how much her disappearance has changed his vision of the world. It is an opportunity for him to look back over his relationship with her: a relationship that made him a free individual, as a man and as a filmmaker. The second night is the final part of a trilogy that began with Letter from a filmmaker to his daughter, which was followed by Dreaming films. The making of this " Cabin Trilogy" is the fruit of fifteen years of work and reflection.
Belgian filmmaker Eric Pauwels' meditation on dream, travel and film.
Lettre d’un cinéaste à sa fille is a playful, free and personal film in the form of a letter, a film interwoven with a thousand stories knit together with different textures, a book of images where a filmmaker shows the images and the stories he wants to share.
This film is a moving tribute to French filmmaker Jean Rouch. Pauwels, a former collaborator of Rouch, accompanies him on a trip to Japan. In this cinematic letter, which he himself calls “a journey into the memory”, Pauwels philosophises about the essence of cinema and, consequently, of life.
A film on the gestures of work, those of a sculptor, a designer, a composer and dancers. A sketch of their relationship to the world subjected to the double gaze of fiction and documentary.
A personal travel notebook. A travel through Europe in search of thirty paintings of the iconic Christian martyr. The film is conceived as a voyage of initiation, an imaginary reportage... imaginary because without an original image of the Saint, all representations were possible.