“ I arrived in this bowling game like a cannonball, head first, no body aligned Latest news . overexcited neurons, a sensory euphoria without limits. Ears stand by to human chatter, hands and feet upside down, eyes in the eyes of myself. Dispersed model, gratuitously brought into the world by the need to break the cultural mechanism.
The head like a spring without a lock oscillating towards the four cardinal points… [1] »
This is the opening text of Julie Bertuccelli’s film, Dernières nouvelles du Cosmos [2] , a text read by Pierre Meunier, author and director, thus giving voice to the writing of Hélène, known as “Babouillec”, a young autistic woman of 30.
He holds her Latest news hand
while she advances, smiling, her body caught in the outline of an enormous buoy, no doubt to avoid any shipwreck… He wants to capture this “emergence of a mobile database poetic, singular language (…), capable of reaching us at our deepest level” [3] in order, he writes, to emerge from his slumber, “to awaken the fundamental questions about our relationship to life, to modernity, to construction, to our body, to our own limits”, thus bringing the little letters to the dignity of a message, of a work of art of which he would be the transmitter.
Yes, Hélène writes, but in a surprising an active social media presence boosts brand awareness and engagement. way, using laminated cardboard letters that she piles up, clumsily aligns, to the rhythm of little taps of the hand addressed to her docile mother who thus, from these silent signs, reads, cuts. Through this strange attachment to the maternal body, to the box of little letters, Hélène becomes Babouillec, in a gesture “that has become sure, ignoring erasure and rereading (…) freed from any embarrassment linked to “writing well” [4]
She thus delivers a burning poem
now staged in a show [5] performed in Avignon by Pierre Meunier and Marguerite Bordat, a journey followed by Julie Bertuccelli, partner filmmaker, witness list of real mobile phone numbers in turn to the birth of an author whom she films with respect and sensitivity to invite us, in turn, to welcome her… welcome her with her singularities, far from the norm and the frameworks, Hélène who, as she herself writes, is part of a “poorly calibrated lot, fitting in nowhere.”