In order to poke a little fun at those rationalists who write the official history of the cinema and who implicitly deny fantasy films any creativeness, we have launched ‘Cout Métrange’ and chosen the much belittled term ‘fantasy’ as the foundation stone of our project.
We welcome all those who deal in disturbing pictures and unsettling visions, all those who create situations that challenge our understanding. We regard them as so many sorcerers and witches who should not be burnt at the stake but be awarded prizes on a stage. Why?
Well, because those artists have the ability to visualize the unreal and convey it to us, they hold a mirror to our subconscious, thus meeting in all of us a need that reason alone fails to fulfil.
As the years go by, the festival gains momentum, its audience gets larger and the productions come flooding from all over Europe. Our devoted collaborators spend more time taking delivery of the films than searching for them.
The British contribution this year has been particularly impressive and will no doubt leave its mark. As for the French, who have now brushed aside all prejudices, they follow hot on the heels of the British and have a few pleasant surprises in store for us. Now, of course, we cannot go through all the detailed contributions of our German, Dutch, Swedish and Norwegian friends, and of all the other European suspects, suffice it to say that they are of the highest standard too.
Be it as it may, our ambition is to provide you with the most comprehensive overview of the genre by endeavouring to cover the full spectrum of the styles associated with it.
‘Fantasy’, ‘eery’, ‘gore’, ‘terror’, ‘wonder’, for a few days these words of ill repute will be written in letters of fire on the frontispiece of this Mecca for culture, the Triangle. Our unruly school kids, our university students, our following of amateurs – informed or not – those curious of all things new, young and old, will meet again for the fourth consecutive year.
So, yes, of course, we are on our way to Court Métrange 2007, where, besides the abundance of films, Olivier De Sagazan’s mutant and tormented works – painted, sculpted or performed on stage – are bound to make a lasting impression on this year’s audience.
S.P.
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