HD Video. 64'
town councilor of Comolars, a community of 3000 people in
the south of France, hopes to become the president of the
Facing his imaginary audience through the camera, the candidate takes the place
of the famous politician he dreams to be.
game of The Chosen
screen split in two. On the left, a speaker in front of a green
screen. “Hello. My name is Alain Galli. I am the representative
from a small town…”
On the right, the same speaker in profile with a make-up table in the background.
The man stammers, repeats himself, takes breaks between two takes…
Is it the interview of a politician made to look ridiculous by the effects
of skillful editing? It is not clear.
The green screen evokes the cinema and its special effects, the make-up table
Moreover, the person asking the question is not a journalist but the film maker
So, what is it? Reality or fiction? Documentary or mise en scene? Politician
or actor? All of this at the same time, as the powerful apparatus deploys its
The two unchanging axes of the camera, the confrontation of two points of view,
create a gap and a distance.
Even the space of the film, the questions it asks, upon what the film asks
us to reflect.
a silhouette. The representative is a beginner and he plays the
role that one expects from an elected official. He aims to be
a “type” in the theatrical sense.
Feeling around, during retakes, he outlines the contours of his character and
searches to enter into that costume.
This creates a distance between the man and the function.
Ambitious, the representative grasps the opportunity to practice in front of
the camera. It is a baptism by fire and risks to be ridiculous.
The director leads the dance but the representative wants to seduce. There
is a distance between being manipulated and wanting to manipulate.
The representative has nothing special to say, but answers every question,
even the most odd—“And what about God?”.
He knows that his tone means more than the message.
There is a distance between his conviction and political convictions, and in
that sense the intention is universal, beyond the partisan rhetoric.
And however, it is about politics, [because the representative would not be
scornful without contempt for the people who chose him to represent them].
The representative indulges himself in the democratic exercise, essential in
our society of information and technology.
There is a distance between the awkward sincerity of a novice and the typical
political rhetoric induced by the media.
there is an honesty of apparatus? The dispostif and the editing
strongly suggest the same intention, that of a desire to control.
But here the two expose each other (the technical pauses, the make-up retouches,
the snippets of conversation between the director and the representative…)
This is not a deceitful neutrality but a constant willingness to interrogate
representative takes himself seriously and that is what makes
him funny. He plays the game, until it becomes masochistic, and
that is what makes him touching.
“ The Chosen” cuts, reveals, and discomposes. It invites us to measure
the distance between that which one wants to show and that which one gives us
It is a game of “reflection” in total, like the mirror in the corner
suggests by metonymy.