UFR LLASICLanguage, literature, performing arts, information and communication, journalism

The flower is on display. Emerging from the ground, it stands upright and shows itself.
Films sometimes reinforce this demonstration: capturing the flower in close-up, they expose it. Offered, stretched out, or thrown, it is a source of aesthetic emotion, attracts the eye, and suggests a fragrance. Whether fleeting or prolonged, its presence in cinema raises questions. What effect does it produce? What kinds of sensory experiences? 

Desire, enchantment, gangrene, depravity, deadly herbarium of innocence, blood, fall, heliotropism in disarray, colorful fantasy, trail of floral scents, canned, living tableau, hidden effects, loudspeakers of horror, deceptive beauty, fatal bouquet...

In response, "Flower Extracts, Film Fragrances" presents a series of installations created as part of the writing workshop, models that seek to visually recreate the aesthetic analyses carried out by the students. A journey through eleven films, from the early days of cinema to contemporary works, highlights the sensory dimension of the cinematic presence of flowers, while approaching the history of cinema as an involuntary collection of memories of species, an album of a world in peril. 

Team: Set design created with the assistance of Antoine Boutet and Eugenia Reznik; Stage management by Michel Morin.
Support from MaCI, Litt&Arts, and UFR LLASIC