Teo Hernández

A group of disillusioned American expatriate writers live a dissolute, hedonistic lifestyle in 1920's France and Spain.

The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.

Hymn to nature, song to the cosmos, Mâyâ builds a world where the camera generates a new type of representation in which the depth of field is reduced to the essential. Everything happens, in a way, on the same surface.

Portrait of the contemporary dancer and choreographer, Montet Bernardo.

Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square. - Early Monthly Segments

No synopsis available yet.

The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.

The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural. At the same time, the film contains a dialectical break that initiates other semantic directions in Hernandez's work. Under the influence of Michel NEDJAR, the filmmaker abandons his traditional method of editing based on rushes. The operation is now completed inside the camera, filming. This more flexible way of proceeding ("the camera must become a second eye") is already reflected in the clear openings of Lacrima Christi: the Christian myth seems to be on the way to exorcising. The pantheistic intoxication - close to that evoked by Nietzsche - seizes places, objects and participants.

Hymn to nature, song to the cosmos, Mâyâ builds a world where the camera generates a new type of representation in which the depth of field is reduced to the essential. Everything happens, in a way, on the same surface.

Portrait of the contemporary dancer and choreographer, Montet Bernardo.

Magical Super-8 (shown on 16mm) single frame portrait of the Notre Dame cathedral featuring luminous light and a dense score incorporating players from the square. - Early Monthly Segments

No synopsis available yet.

Lacrima Christi is an exploration of the transfer between desire and myth that takes as its starting point a series of objects found in the flea market of Belleville.

Lacrima Christi is an exploration of the transfer between desire and myth that takes as its starting point a series of objects found in the flea market of Belleville.

A gong will never abolish chance? If chance is travesty of desire, and desire movement without measure, cinema is vibration of this desire in fugue.

Film Super 8 color, silence

With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language. From this point of view, he joins the approaches of other contemporary filmmakers like Bene or Schroeter. In Esmeralda, he introduces masks from his creation to work on the physical and not only the filmic material. But Hernandez adds to his series of aesthetic variations of "stock-shots" of war plans, desolations, genocides, which brutally fall within the visual framework of his film. The filmmaker thus points out the cracks that overflow the myth in its darkest areas: the historical and social reality that obsesses us, that terrorizes us every moment.

No synopsis available yet.

Experimental short by Teo Hernández.

Teo Hernandez films the water of the Seine and its reflections for a film at once material and luminous.

The banner of the Cannes Festival shows its three premises: glory, money and politics. If you film the banal, the naive and the superficial of the atmosphere in Cannes at that time, it is for nothing more than to rescue the beauty of the water of its sea.

Experimental short by Teo Hernández.

The outcome of Hernández’ friendship with the dancer and choreographer Bernardo Montet, this work, ranging from black-and-white to color, is the vertiginous record of a cross-dressing act, or a therapeutic performance on identity. Presented for the first time in Rouen, on May 26th 1987.

Fugitive images of the northwestern city of France.

No synopsis available yet.

All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.

All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates. The best way for historical interpretation or literary adaptation is to move as far as possible from literal interpretation. That is, it is a contemporary and personal interpretation. The story of Christ is an archetypal story. It has modified and informed a morality and a vision of the human being in the West, it must be taken for what it is and what it has become: matter.

No synopsis available yet.

An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.

An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.

Experimental short by Teo Hernández.

Filmed in 1988 on the occasion of the parties at the house of Marie-Noëlle Delorme. Shot with camera in hand to small bursts of frames and almost image by image, but then slowed down.

Téo Hernandez's series of Memories... transcribes perfectly the filmmaker's vertiginous ability to capture a city from a few well-chosen places; the juxtaposition of architecture and people creates a mosaic of sensations, exalted by the syncopation of the zooms and cascading shots, clues to the "manner", the "filmmaker's paw".

The purpose of the film is to go beyond the notion of the body as a system of functions, symptoms and reflexes that try to delimit the whole body. The body, represented here with all its norms, confronted with itself in a space devoid of causal references, moves towards the abolition of its image and the springing of its inner source: it is the luminous nucleus of the human body.

Tauride reconnects with the myth and the tragic role which it reinterprets. Drawing from this fracture, traversed by the magnitude of its cruelty, Catherine Diverrès prompts reflection that leaves no room for nostalgia or the temptation of prophetism

From the series "Portraits" : Pascal Martin

From the series "Portraits" : Pascal Martin

In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.

Short film by Teo Hernández.

Images of the filmmaker's visit to Montpellier.

Experimental short by Teo Hernández.

Short film by Teo Hernández.

Liberté provisoire takes from everyday life, transforming the ordinary into a sensory delight. Walks in the Belleville district, Ménilmontant, leading to Père Lachaise cemetery, to the tombs of Piaf and Sarapo.

An early Téo Hernandez film exploring the space of a garden. Shot in July 1970 in the Carlsberg Glyptotek garden in Copenhagen, Pause is a 8 mm black‑and‑white silent short in which Téo Hernández roams the museum garden, alternating tight close‑ups of bodies (hands, feet, faces) and textures with sculptures and vegetation; the camera’s halting, scanning movement turns the stroll into a study of matter, framing and rhythm. Featuring Michel Nedjar, Léon Pizano and Sheena Mark, the film dispenses with narration and treats the garden’s statuary and foliage as anchors for a tactile observation of bodies in space.

Premonition of urban chaos from the images, a counter-reading of the picturesque and a rabidly cosmopolitan vision of the city.

Fugitive images of old Paris neighborhoods.