The second program of Refle-x-périmental is dedicated to cine-portraits. It proposes an exploration of gestures of cinematographic (self)representation based on multiple intersections of the gaze.

From self-portraits (Snow, Unglee) to family (Schefer, Satake), familiar (Mekas, Baillie), or even domestic (Rey) portraits, along with political portraits (Glowczewska, Schefer), these films question the relationship between the filmmakers and their subjects.

The cinema is a magical place. In 1975, Roland Barthes mused aboutce noir du cinémaas simultaneously hypnotic and fixative, fascinating and liberating. Sometimes, experimental films seek out the slumber that is distinctive of cinema, then again, they oppose it, celebrate alienation, break through the fourth wall and appeal to the awake spectator, leaving behind familiar film forms, good taste and cultural patterns.