DE LA GUERRE

Synopsis

Note d'intention

In Le pornographe, a son spoke to his father about the difficulty of living after an era in which pleasure and desire seemed to be omnipresent. This project is an indirect extension of the same, since this question is one which still obsesses me. For me, it contains something essential, ancestral and contemporary, and is especially striking in today’s world. Because reality, the world in its current state of being, no longer allows us to be “joyful”, to be ourselves, utterly.
This being the case, would the recreation of a zone in which everything in life that most interests us could be concentrated tempt us? Would we be prepared to pay for that, to leave everything behind for it?
It would mean finally being able to temporarily leave all notion of reality behind to leave one’s dream: a warring, excessive dream. And live it without losing sight of the fact that eternity is not an option, whatever the experience one goes through.
That dreams themselves are also monstrous.
In order to do this, we will invest a place and make it a place of pure fiction, and thus a place of cinema. And which will thus enable us to see.
For that is what we are talking about. SEEING.
Seeing what has been under our very noses and yet passed unnoticed.
Ultimately, the search for transcendence in all its forms is what fuels The Kingdom, a search that is a fundamental human characteristic. Do we really need to set ourselves away from the world to remember this?
My last films ended on a sombre note. Not through choice, but because I could not see how the characters could end up another way, without betraying the story. In this case, however, Bertrand could bring something back from The Kingdom. He could change his presence in the world and express what he feels. He has passed through fiction and returned to reality, but this time he is in it.
Really in it.