Partage des Eaux
At first glance, Jean-Claude Rousseau’s films seem like quickly outlined sketches. They are snapshots of various situations and locations, as in this program of nine miniatures, shot in hotel rooms and parks, at the shore of a lake, and – in the longest contribution – on a restaurant terrace. Rousseau’s observations of everyday life, however, are about precision rather than contemplation. With each minute that passes, they sharpen the view of the observant and expectant outsider for a moment of surprise – be it a jump into the water or a huge crucifix.
Storyline
At first glance, Jean-Claude Rousseau’s films seem like quickly outlined sketches. They are snapshots of various situations and locations, as in this program of nine miniatures, shot in hotel rooms and parks, at the shore of a lake, and – in the longest contribution – on a restaurant terrace. Rousseau’s observations of everyday life, however, are about precision rather than contemplation. With each minute that passes, they sharpen the view of the observant and expectant outsider for a moment of surprise – be it a jump into the water or a huge crucifix.
