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PYROMANIAC is a French film where the No Wave meets the Nouvelle-Vague. Written and directed by Amos Poe (The Blank Generation, Alphabet City, Empire II, etc.) and starring Jean-Pierre Leaud (400 Blows, La Chinoise, Masculin Feminin, Day For Night, The Mother and The Whore, etc.) and Isabelle Huppert (The Piano Teacher, Elle, The Romanoffs, etc.), the cinematographer is Sean Price Williams (Good Time), and the composer is Philip Glass (The Hours, Einstein on the Beach, etc.). Produced by Celine Danhier and Bunny Lake Films (Blank City), it will be shot in Paris, France this April, 2019.
* Currently Seeking Distribution & Financing Partners, Interested relations please contact Amos Poe or Celine Danhier Location: Paris, France | Pre-Production: 6 Weeks | Production: 4 Weeks | Post-Production: 12 Weeks | Vist amospoe.com
Interested media please contact Workhouse, CEO Adam Nelson via email nelson@workhousepr.com or telephone +1 212. 645. 8006
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A very simple meditative film, almost - except for some music, sound efx, possibly an occasional voice over or dialogue - a silent subjective Bressonian film... as well as a hint of Godard, Brakhage, Ophuls, Keaton, Malick and Warhol come to mind. Pop art. Our male protagonist, Gregor, is a Kafkaesque man alone in Paris. He is enthralled by fire, by flame, a yearning for burning. He is neither happy nor unhappy, not crazy or sane. He’s experiencing strange hearing loss, a special sensitivity to sound.
Structurally, a series of 12 interconnected vignettes (each 7 to 10 minutes long) in which Gregor lights fires: matches, his stove, newspapers, a car on fire, books, clothes, a house, a tall bonfire. He stalks fire houses. He steals rolls of film and in the woods, sets them on fire. On his old television he only watches The Fire Channel. Eventually he burns his clothes, TV, books. In a word, he’s obsessed. He’s sort of the ultimate urban romantic, a man alone. A hero for our post-existentialist times. A shaman. All Gregor’s friends lie predictably residing in the cemetery. He’s lets go of all his narratives, his memories, prepares for some great tabula rasa.
Gregor is unknowingly pursued by his neighbor, a Detective from the Arson Squad. The film depicts a kind of hunt for the arsonist, an almost leisurely and melancholic hunt because while there’s fire, we never know if these fires have actually harmed anyone. The detective is as lonely a figure as the pyromaniac. As obsessed. The Detective is a mirror self. A searcher in search for connection. The Detective’s experiencing some strange visual problems of her own. She’s a character looking for an exit, a bit of a perfectionist; somewhat judgemental, a dreamer.
It is a film of personal observation, primarily a meditation on human behavior. Cinematically, it allows us to mold a unique visual and aural point of view, style. And of course, Paris. An outsider’s Paris; the postcard obvious Paris, and the more discrete. Paris as anti-Paris.
The last vignette of the film: the Detective has arrested Gregor, brings him in. On the journey, they bond in an informal way, a mutual recognition of their shared humanity. From a casual observer’s point-of-view, they’re like an old couple, comfortable with each other, not from romance but from time. Upon arrival at the precinct, the Detective’s retirement papers have come through. Forgetting about the Pyromaniac in her excitement, the Detective leaves the station to pursue another way of being, another vision of herself outside of work. Free and forgotten, Gregor walks out of the station out on the street, into life... and one last fiery act.
The poster for the film is an image from behind the Pyromaniac, on a bench watching the Eiffel Tower go up in flames. This will also be the trailer (an homage to Kubrick’s The Shining trailer).
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