It all starts with a bullet, then you have to trace its path. An exploration of French police brutality, using both modern and archaic cinematographic techniques.
In their previous film, Contraindre, the duo Fleuryfontaine (Galdric Fleury and Antoine Fontaine) had already tackled the issue of police violence through 3D animation, giving a digital body to events of abuse and mistreatment. In that film, the motion capture technique was used to develop a conceptual reflection that opposed the accentuation of physical characteristics (skin colour, body shape) to the ‘disembodiment’ before the authorities: a film made in the interval between coercion and constraints. Five years later (now outside the framework of Le Fresnoy), the duo continues their hybrid research, where animation now serves as a tool for analysing video surveillance footage that captured an act of ‘non-lethal’ violence. Soixante-sept miliseconds is a film about trajectories, about bodies and projectiles in motion; it’s a film-denouncement, but it’s also a short treatise on the documental validity of cinema – somewhere between Marey’s chronophotography and the Forensic Architecture’s investigations. (Ricardo Vieira Lisboa)
