Foulplay
Film, 2K Video, color, stereo sound, 12’, 2022-2024With Francince Flandrin, Laura Gozlan
DoP : Florian Chombart, Marie Ward
Lights : Alexandre Cambron, Tom Devianne
Sound : Talita Otovic
Make-up Design : Swan Arnaud, Zhang Na, Yili Dong
Sets : Anna de Castro Barbosa, Titi M.Cerina
Stage manager : Flora Audoye
Foulplay, Mum’s new film, finds her down — an underground parking or the sewers — on the day after elections. Insurrection is in the air. At a moment when society could cross the line into a new world order, Mum receives a phone call from a mysterious character who summons her to transform the fascist threat into anarchic chaos through her magic sexual power.
“Neither Rebecca Wolf nor Sonia Velazquez”, explains Manuella Draeger in Herbs and Golems, “admit that a social imposture — backed by millions of years of animal abjection — leads girls, teenage, then adult and old women to honestly think and say that copulation is in no way disgusting but on the contrary that it is good for the body and the soul, essential to the way the world works and practically wonderful. (...) Without denying the obvious existence of female sexuality, both consider coitus to be tinged with blatant violence”.
In Foulplay, Mum becomes a primitive deity. A seedy, sewage goddess. The incarnation of a separatist, masturbatory power which will unleash its revolutionary forces against patriarchy — a truly Post-Exoticist plan. Manuella Draeger confirms once again: “The ideal society according to Rebecca Wolf”, she writes, “the future society towards which egalitarians must work is austere, fraternal and free from a legacy of brutality. It is not a matter of orgasm nor reproduction.» Foulplay defines an illegal action, a crime. In Laura Gozlan’s film this term also has the connotation of filth and, literally, of scatological games — which also evokes the idea of radical self-sufficiency. But who befouls what ?
François Piron