Sophie Roger

“Sophie was doing a series of portraits of friends reading. I suggested to her, along with our common friend Sophie Marie Le Pallec, that we make an adaptation of Mercier and Camier set in the coach on the Fécamp/Le Havre line that passed in front of the houses where we lived.”

On a journey through heartbreak, in search of transformation. The film is built through friendship: each person helps in their own way, searches for the story, translates the words into their own language, sings Emily Dickinson, joyfully mends the dress of sorrow.

A love journey along a side path. From her cabin to the ‘garden of little brambles’, the director engages in dialogue with the beings she encounters. Women, animals, flowers, trees, and books joyfully coexist in this quest.

A short film by Sophie Roger

In each of her films (including many of those that have been shared here at FIDMarseille, over the years), it seems as though Sophie Roger has given herself a rule that is unsettling for anyone else: nothing guarantees that the secrets hidden in each work are revealed to the author, let alone anyone else, in a definite way at least. In addition, perhaps this time more than usual, we are confronted with a riddle – in two chapters.

Through her window, Sophie films her neighbours tending a community vegetable garden as seasons pass by. At the same time, she reads passages from Tristes tropiques and regularly abandons her observation post to enter the frame, meet her neighbours, ask them to pose for filmed portraits.

“Sophie was doing a series of portraits of friends reading. I suggested to her, along with our common friend Sophie Marie Le Pallec, that we make an adaptation of Mercier and Camier set in the coach on the Fécamp/Le Havre line that passed in front of the houses where we lived.”

On a journey through heartbreak, in search of transformation. The film is built through friendship: each person helps in their own way, searches for the story, translates the words into their own language, sings Emily Dickinson, joyfully mends the dress of sorrow.

On a journey through heartbreak, in search of transformation. The film is built through friendship: each person helps in their own way, searches for the story, translates the words into their own language, sings Emily Dickinson, joyfully mends the dress of sorrow.

On a journey through heartbreak, in search of transformation. The film is built through friendship: each person helps in their own way, searches for the story, translates the words into their own language, sings Emily Dickinson, joyfully mends the dress of sorrow.

A love journey along a side path. From her cabin to the ‘garden of little brambles’, the director engages in dialogue with the beings she encounters. Women, animals, flowers, trees, and books joyfully coexist in this quest.

A short film by Sophie Roger

In each of her films (including many of those that have been shared here at FIDMarseille, over the years), it seems as though Sophie Roger has given herself a rule that is unsettling for anyone else: nothing guarantees that the secrets hidden in each work are revealed to the author, let alone anyone else, in a definite way at least. In addition, perhaps this time more than usual, we are confronted with a riddle – in two chapters.

In each of her films (including many of those that have been shared here at FIDMarseille, over the years), it seems as though Sophie Roger has given herself a rule that is unsettling for anyone else: nothing guarantees that the secrets hidden in each work are revealed to the author, let alone anyone else, in a definite way at least. In addition, perhaps this time more than usual, we are confronted with a riddle – in two chapters.

Through her window, Sophie films her neighbours tending a community vegetable garden as seasons pass by. At the same time, she reads passages from Tristes tropiques and regularly abandons her observation post to enter the frame, meet her neighbours, ask them to pose for filmed portraits.

From her window, Sophie Roger looks at the landscape of her film Les Jardiniers du Petit Paris. She is addressing Pierre Creton and questioning their common territory. Between her cat and the tree in the distance, she humorously depicts a friendship at work.

The island in question will be imaginary, following on from that envisaged by Gilles Deleuze in his eponymous text, as a utopia and a space for possible beginnings. It will also have its Friday and be inspired by Joyce’s Ulysses. We will pick flowers there, dig the earth and dream. An island to be lived on, a garden to be cultivated. A garden of Eden as the setting.