Gaël Badaud Trailers
Mes films commencent au moment où les autres se terminent (Conversation avec Teo Hernandez I) TrailerTéo TrailerKader, Gaël Trailer
At the age of 32, Gaël Badaud inaugurated a period of intense creativity (drawing, poetry, vocal music, film), after experiencing a constant wandering and struggle for survival, which marked him for his entire existence. Retired from his parents (gypsy mother and Breton father) by the Public Assistance when he was 4 years old, he was placed on a farm with a foster family. But this tormented being feels different in this environment foreign to his nature. At the age of 20, he left Loire-Atlantique and moved to Paris. Ten years later, in 1976, he meets Teo Hernandez, with whom a fruitful exchange takes place. He becomes the interpreter of the filmmaker's films, which, teaching him to read and write, allows him to express his sensitivity. In return, he shares with him his experience of "life in a vacuum". From their collaboration are born Liberté provisoire (1977), Gaël (1978) and Tables d'hiver (1978-1979) - filmed by Téo - who give us the keys of their relationship, and the achievements of Gaël, filmed, according to his mentor, "According to his personal gaze, without worry of any school or any conceptualization, cinema abrupt in the sense that it irrupted without rhetoric in the field of the filmic. Cinema away from the recipes and which proposes a new look, that of the innocence ".
Most Popular Gaël Badaud Trailers
Total trailers found: 54
31 December 1983
Outtakes from the movie
07 July 1978
Reel 2 of Gérard Courant's on-going Cinematon series.
10 January 1982
One of my last films to be made indoors was La vie brève de la flamme. I used light in a very expressionist manner — still with the technique of a very active camera.
17 March 1986
"Sounds of images" come to me from the windows overlooking rue Saint-Maur (the former pilgrims' path to Saint-Denis) and suddenly make me want to take a closer look.
20 December 1978
Cinématon is a 156-hour long experimental film by French director Gérard Courant. It was the longest film ever released until 2011.
01 January 1979
The construction of the film outlines the successive steps of a path that, as we move forward, reveals the different stages of its presentation: the moon, the rose, the child, the candle and the skull are linked in a unique picture that gives its internal meaning.
01 January 1980
Outtakes from the movies
28 January 1987
Eyes and ears travel discontinuously through everyday life and the sub-worlds of the city and the body.
08 April 1988
Experimental short by Teo Hernández.
01 January 1981
Outtakes from the movie.
08 April 1989
Experimental short by Teo Hernández.
08 April 1989
Experimental short by Teo Hernández.
01 January 1980
The song composed by the author modulates the phases of the film and constitutes, in its entirety, the specific form of a call.
01 January 1984
A single-screen version of the Portraits / Mirrors multi-projection. Featuring portraits of: Aloual, Gaël Badaud, Raphaël Bassan, Yann Beauvais, Jean-Michel Bouhours, Gérard Courant, Berndt Deprez, Bertrand Gadenne, Mythia Kolésar, Christian Lebrat, Stéphane Marti, Pascal Martin, Michel Nedjar, Dominique Noguez, Vivian Ostrovsky, Bernard Roué, Martine Rousset, Alain Sayag, Unglee, and Catherine Zbinden.
01 January 1981
Diary-films, portraits of visitors. Visiteurs is the result of great editing work, while Portrait de Gaël was made in two times, two places, without editing, improvising with the camera.
23 December 1978
An approach to Gaël Badaud and his activity as a painter: the birth of his paintings and the tight bonds between his work and his personal experience.
30 August 1977
All of history, that of Christ or any other, permeates the world, leaves its mark, modifying and informing history, and all that the human reproduces and creates.
17 November 1978
The purpose of the film is to go beyond the notion of the body as a system of functions, symptoms and reflexes that try to delimit the whole body.
01 January 1984
Teo Hernandez films waste and scrap found on the pavements of the streets of Paris. “Sidewalks are great subjects: garbage, objects and materials, stains, signs, are a movie subject.
01 January 1981
Outtakes from the movie Foire du Trône.
01 January 1978
Outtakes from the movie Corps aboli.
27 November 1981
A gong will never abolish chance? If chance is travesty of desire, and desire movement without measure, cinema is vibration of this desire in fugue.
31 December 1984
Outtakes from Maya (1979).
16 March 1983
In the early '80s, this collective of artists invented a style of cinema made in 4 hands, where each of the protagonists is also a filmmaker.
22 December 1978
The tetralogy pieces are dominated by the concept and presence of death, foreclosure, fetal vertigo. As such, CRISTAUX is a real descent into an inner labyrinth, which we do not know if it is organic or cultural.
19 April 1980
Lacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández.
14 June 1977
Exploration of bodies. Point, counterpoint. A black glove goes in search of a red glove.
01 January 1988
1st of Gaël's trilogy.
02 December 1979
Winter 1978-1979: In his signature style, Hernández films hearty meals, long afternoons and candlelit dalliances inside his residence on rue des Entrepôts.
25 July 1980
The film Graal goes (as well as all the films which precede it) toward an open and avowed paganism, in which pagan force and magic imbue all the subjects at all times.
01 March 1978
"ANGLE, with its brief black and white shots, almost always plunging and oblique, of naked bodies or parts of bodies, is a film of rupture.
31 December 1984
Chutes de Lacrima Christi is an 95‑minute experimental collage film assembled entirely from unused outtakes of Teo Hernández’s earlier work Lacrima Christi.
31 May 1977
Liberté provisoire takes from everyday life, transforming the ordinary into a sensory delight. Walks in the Belleville district, Ménilmontant, leading to Père Lachaise cemetery, to the tombs of Piaf and Sarapo.
31 December 1977
With Esmeralda, Hernandez shifts to the romantic mythology, but this descriptive aspect is secondary in the filmmaker's work, whose purpose is the constitution, by interposed myths, of a baroque cinematographic language.
17 November 1978
This film is the most "plastic", the most "actionist" of Nedjar: it is his In contextus or his Double Labyrinth.
31 December 1983
Through the use of portraits, shadow play and reflections, this series of exercises with and from body language compose a "four-handed" look against the notion of authorship: a vindication of the community content (repressed?) in every image.
