Rosto, rockers at work – Culture / Next

Subtitle “A trip rock from Rosto”, Thee Wreckers Tetralogy has the merit of bringing to light a form that has fallen into disuse: that of rock opera, a megalomaniac gesture by which a group stretches out of itself to give a graphic translation to its music.

Latex. The total work is precisely the ambition of the Dutchman Rosto, filmmaker, musician and author of comics who envisioned (he died in March 2019) his various practices as an extension of the same gesture. By suturing four short films made from 2008 to 2018 and a making-of, this feature film allows films by Rosto, a creature of festivals, to enter a more mainstream distribution circuit and to go beyond the audiences of Annecy and Clermont or type UFO broadcasts Mensomadaire.

In four acts and as many pieces, Thee Wreckers Tetralogy composes a sibylline fable, a kind ofStrange Christmas of Mister Jack for very depressed, in which there is a quartet of rockers in black suits and with oblong, fuzzy, crumpled and creepy faces. To the cathode layouts of No Place Like Home, where a man gets lost in the contemplation of his past by screens interposed in a room which rocks like a drunken boat, succeeds a run through a gray and anonymous city, reminiscence of the totalitarian expressionist metropolises and a deadly tour in hearse. More than the hymns with the false accents of Tom Waits, it is the plastic which sucks the ease with which Rosto summons various techniques into a baroque image. He combs his actors’ heads with giant latex heads, makes them shake before retracting their bodies or reshaping them in 3D.

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References. On the screen is added the cartoon, transparency or overlay effects, when the film does not seem to pulsate like a lung. If this prolonged immersion can reassure a spectator immersed for the first time in this universe, on the contrary it can also cause a feeling of suffocation by letting too much appear the conscious or not references of Rosto (Marc Caro, Vaughan Oliver, Dave McKean ). The film already tends, by always seeking the strong image, to cannibalize itself, a plan chasing the other. Remains at the gates of boredom, we are mowed down by some flashes like this emergence of the final Super-8, very beautiful sequence at the Muybridge where a child multiplies while the film projected in a living room is cut and deformed bumping into furniture.


Marius Chapuis

THEE WRECKERS TETRALOGY of Rosto (1 h 10). Exhibition at Point éphémère (75010) from March 25 to 31.

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