Filmmaker, writer and film lecturer Eric Pauwels started his career with what he calls ‘cinéma mémoire’, or ethnographic documentary. He obtained his PHD in cinematography in Paris with a documentary on the ‘possessed’ in Indonesia. Afterwards, eager to step out of his role of being a spectator, Pauwels begins to make dance videos and works of fiction. The latter are so-called ‘half films’: half documentary, half fiction. But which distance does one keep to one’s subjects? Pauwels’ answer is cle...
Filmmaker, writer and film lecturer Eric Pauwels started his career with what he calls ‘cinéma mémoire’, or ethnographic documentary. He obtained his PHD in cinematography in Paris with a documentary on the ‘possessed’ in Indonesia. Afterwards, eager to step out of his role of being a spectator, Pauwels begins to make dance videos and works of fiction. The latter are so-called ‘half films’: half documentary, half fiction. But which distance does one keep to one’s subjects? Pauwels’ answer is clear: eliminate the distance and become a subject amongst your subjects. For him, cinema and life should ideally coincide; fiction should penetrate documentary.
Filmmaker, writer and film lecturer Eric Pauwels started his career with what he calls ‘cinéma mémoire’, or ethnographic documentary. He obtained his PHD in cinematography in Paris with a documentary on the ‘possessed’ in Indonesia. Afterwards, eager to step out of his role of being a spectator, Pauwels begins to make dance videos and works of fiction. The latter are so-called ‘half films’: half documentary, half fiction. But which distance does one keep to one’s subjects? Pauwels’ answer is clear: eliminate the distance and become a subject amongst your subjects. For him, cinema and life should ideally coincide; fiction should penetrate documentary.
