Presenting the festive events which accompanied the screening of a film where the director’s father played a role, the images in Moune Ô reveal the remnants of the colonial inheritance within a Western collective unconscious, always marking the other through stereotypes.
Spasmodic images depicting the western colonial inheritance, caught in a dance of their own, broken from the ones shown on screen, bring us back to a gala night in 1990 when the filmmaker’s father, an extra in the film, performs together with other members of the crew in a ceremonial dance for the spectators. Somewhere between the frames, we see the face of young Maxime gazing at his father with wide eyes, torn from the excitement of the crowd. His voice and thoughts are hidden. They find an expression more than thirty years later. “The crowd makes me smile, breaks my body, and that’s the end.” (Emil Vasilache)
Maxime Jean-Baptiste is a filmmaker based between Brussels and Paris. His audiovisual and performance work is focused on archives and forms of reenactment as a perspective to conceive a vivid and embodied memory. His filmography includes: Nou Voix (2018) and Listen To The Beat Of Our Images (2021).