Matthieu Hallé

Two young women journey from the outskirts of the city to a radioactive area deep in the woods. Along the way they encounter a young drifter. As they travel together they are forced to confront their new reality.

Privileged with knowledge, Margraue assumes the role of school teacher in a post-apocalyptic world deprived of digital information...or so his story goes.

Ocean III is part of a series of films loosely connected by a similar process of cinematography that sees the operation of the camera as a kind of intuitive performance; specifically the way lenses, filters, and camera are manoeuvred in a single long take to create an impression of a space, while also frequently abstracting it.

An improvised performance piece for visuals and sound. Candlelight flickers from Hallé’s breathing and gets focused with handheld pieces of broken crystal onto a video camera sensor, which becomes the light source that illuminates a 16mm film of an abstracted ocean landscape. The live music and visuals play off each other. Hallé’s barely perceptible hand gestures and his intentional breathing spontaneously adapt and create the projected world of light and shadow, color and movement.

The film is set amongst the eroding, forested cliffs of a creek. The images are a direct response to Linsey Wellman's soundtrack of layered saxophones and electronics, which filmmaker Matthieu Hallé listened to for the first time while exposing each frame.

Privileged with knowledge, Margraue assumes the role of school teacher in a post-apocalyptic world deprived of digital information...or so his story goes.

Privileged with knowledge, Margraue assumes the role of school teacher in a post-apocalyptic world deprived of digital information...or so his story goes.

Ocean III is part of a series of films loosely connected by a similar process of cinematography that sees the operation of the camera as a kind of intuitive performance; specifically the way lenses, filters, and camera are manoeuvred in a single long take to create an impression of a space, while also frequently abstracting it.

An improvised performance piece for visuals and sound. Candlelight flickers from Hallé’s breathing and gets focused with handheld pieces of broken crystal onto a video camera sensor, which becomes the light source that illuminates a 16mm film of an abstracted ocean landscape. The live music and visuals play off each other. Hallé’s barely perceptible hand gestures and his intentional breathing spontaneously adapt and create the projected world of light and shadow, color and movement.

The film is set amongst the eroding, forested cliffs of a creek. The images are a direct response to Linsey Wellman's soundtrack of layered saxophones and electronics, which filmmaker Matthieu Hallé listened to for the first time while exposing each frame.