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Une jeune fille de 90 ans
© Agat films & Cie
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AUTEUR(S)-RÉALISATEUR(S)

Valeria Bruni Tedeschi, Yann Coridian

IMAGE

Hélène Louvart

SON

François Waledisch

MONTAGE

Anne Weil

PRODUCTION / DIFFUSION

Agat films & Cie, ARTE France

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Agat films & Cie, Agat films & Cie

ISAN : non renseigné - en savoir plus
COMMENT VISIONNER CE FILM ?

Au service de gériatrie de l’hôpital Charles Foix d’Ivry, Thierry Thieû Niang, chorégraphe de renom, anime un atelier de danse avec des patients malades de l’Alzheimer. Par la danse, des vies se racontent, des souvenirs s’égrènent plein de regrets, d’amertumes, d’éclats de joie, de solitudes. Blanche Moreau a quatre-vingt-douze ans. Pendant le tournage, elle est tombée amoureuse du chorégraphe Thierry. Le simple fait de tomber amoureuse étant en soi une chose folle, Blanche n’a plus rien de délirant ni de fou : sa maladie est devenue tout simplement la maladie de l’amour.

Like many old people in nursing homes she seems to have drawn a curtain between herself and the world. Without relatives, in the company of other Alzheimer patients, she hardly remembers her melodious name: Blanche Moreau. But then choreographer Thierry Thieû Niang arrives at the hospital. Thierry incorporates the patients’ movements, gestures and words in his dance and doubly animates them: their bodies and their souls. Among the murmurs of French chansons which, of course, talk of the adventure of love, Blanche awakes from her enchanted sleep. And more than that. “Parlez-moi d’amour” and the handsome, attentive stranger open a space for her in which she can once more get lost – or find herself – in the ecstasy of being in love. For Thierry, visibly moved by this development, the task is to create the right balance through dance. Holding and trusting each other – that also describes the careful attitude of the director towards the dancers: a successful actress and feature film director, Valeria Bruni Tedeschi, in collaboration with Yann Coridian, now delivers a sensitive debut documentary. We learn only what is revealed by the place and situation about the patients’ lives. But in any case the film makes us sense that memories are less about one’s CV than about a reservoir of emotions.
(Lars Meyer)

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