Boris du Boullay works on the writing of cinema as raw material in analogue films, digital videos and multimedia creations. By focusing his creations on the daily stupefaction of images that pass through us, by playing with the absurd in the distance from reality, working on speed, improvisation, accumulation and profusion, he develops a direct and ambiguous, emotional and ambivalent work, where writing finds its fulfillment in burlesque. Violently marked by Roberto Rossellini's response to Jean Rouch, the incessance of Marguerite Duras, the exile of Andrei Tarkovsky, the gestures of Charles Chaplin or the editing of life in Jacques Rozier, he works a phenomenological furrow with the idea that cinema, in its work of substitution of time, by approaching a self-donation incessantly not described by Michel Henry (where there would no longer be a phenomenological distance between the given…
