Abstract
In Philippe Grandrieux’s cinema, the interest in representing the presence of human figure coexists with a twilight pictorial space on the brink of fading into darkness. Therefore, we recognize a contradictory situation: the body gets materiality in spite of his possibility of dissolves in the image. In view of the above, the paper aims to discuss how the shadow contributes to a visual sublimation and a sensory restitution of human figure in Grandrieux’s cinema, especially in Sombre (1998) and briefly in White epilepsy (2012). In relation with plastic art, notably the works of Pablo Picasso and Paul Cézanne, we intend to discuss the specificities of a formal proposition that seeks to evoke the body by space indices and by the circularity in the image.
keywords:
human figure; shadow; presence; cinema; painting
