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The staging of innocuous, primordial gestures of life is present in Patrick Bokanowski\u2019s first three films, La femme qui se poudre<\/em> (1972), Le d\u00e9jeuner du matin<\/em> (1979), and finds its fulfilment in L\u2019ange<\/em> (1984), accompanied by that repetitive obsession which also characterises Mich\u00e8le Bokanowski\u2019s music. With repeated sheet-metal scrapings, played with a bow and transformed in La femme qui se poudre,<\/em> and fragments of a string quartet reworked and looped in L\u2019ange<\/em>, Mich\u00e8le Bokanowski sets out to genuinely extend the intrinsic structure of the image. At every level, transformation is raised to a founding principle. With the Bokanowski couple, cinema becomes the art of fabricating an entirely subjective world of the imagination.
\n\tMich\u00e8le Bokanowski builds her vocabulary on the same basis\u00a0as the images: reworked concrete elements (sound objects or instruments), looping, phase-shifting and multiplication creating a tension and a paroxysm before entering a new sequence.
\n\tIf Patrick Bokanowski is passionate about everyday gestures, what motivates Mich\u00e8le Bokanowski is rather what happens inside the characters while they perform these gestures. She thus manages to materialise the impossible state of tension to which the characters are subjected, prisoners of their gestures and of the stifling universe that surrounds them.
\n\tMost of the time, the music creates a distance from the image, except at certain moments when very marked synchronisms appear fleetingly, like something that falls brutally onto the image and that one does not expect, creating a total surprise that reinforces this deviant temporality which belongs only to the instant.<\/p>\n