1
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Here’s a childhood memory,
thrown out into the tip.

2
00:00:15,458 --> 00:00:16,458
It was damaged,

3
00:00:16,458 --> 00:00:18,416
you can see its scars.

4
00:00:18,416 --> 00:00:22,666
The person who recorded it or who ended up
 having it, wanted to get rid of it.

5
00:00:23,458 --> 00:00:24,958
It had lost all value.

6
00:00:24,958 --> 00:00:27,958
The film had come out, it was cut
and scratched.

7
00:00:28,250 --> 00:00:29,541
I gave it some care.

8
00:00:29,541 --> 00:00:32,541
 I saved what I could ...

9
00:00:33,166 --> 00:00:35,125
It was a friend who gave me this one.

10
00:00:35,125 --> 00:00:38,125
When he was moving, he found it in an
abandoned box,

11
00:00:38,333 --> 00:00:41,333
forgotten in the cellar
with some old letters.

12
00:00:41,708 --> 00:00:44,708
- Have you been doing this for a while?
- ...Yeah…

13
00:00:44,833 --> 00:00:46,208
-Can you explain why you do it? 

14
00:00:46,208 --> 00:00:47,541
How did it start?

15
00:00:47,541 --> 00:00:49,208
-Hold on …

16
00:00:49,833 --> 00:00:52,083
That’s the first one,

17
00:00:52,083 --> 00:00:54,500
my first nonmemory.

18
00:00:54,500 --> 00:00:57,416
When I came across these
lost memories, I was plunged

19
00:00:57,416 --> 00:01:02,125
into a mix of odd emotions, 
a sort of nostalgia.

20
00:01:02,666 --> 00:01:06,083
I thought to myself, 
I should save them,

21
00:01:06,750 --> 00:01:08,333
they mustn't be lost.

22
00:01:13,250 --> 00:01:15,583
It’s in Super 8 … The beginnings of

23
00:01:15,583 --> 00:01:18,083
mainstream video!

24
00:01:18,083 --> 00:01:20,125
Before then family film
 that we find were often shooted

25
00:01:20,125 --> 00:01:24,000
by professionals with big, 
heavy, fixed cameras,

26
00:01:24,541 --> 00:01:27,250
that were anchored in the
ground. With 8mm,

27
00:01:27,250 --> 00:01:30,250
it's the people who
film themselves.

28
00:01:30,666 --> 00:01:33,541
We see through their eyes,
what catches their attention,

29
00:01:33,541 --> 00:01:36,541
what's important at that moment,

30
00:01:37,375 --> 00:01:41,416
we get inside their skin,
a part of their skull.

31
00:01:42,083 --> 00:01:45,000
There's something intimate 
about this amateurism.

32
00:01:45,000 --> 00:01:49,250
Something that we have gradually 
lost because of smartphones.

33
00:01:49,583 --> 00:01:52,458
People, overexposed to
visual imagery on a daily basis,

34
00:01:52,458 --> 00:01:54,625
have become professionalized,
by mimicry,

35
00:01:54,916 --> 00:01:59,458
they've lost a little of that magic, the
magic of grown-up kids

36
00:01:59,458 --> 00:02:02,791
discovering a
new toy, learning, experimenting with
it…

37
00:02:03,208 --> 00:02:06,208
And paradoxically, we film things
that are not that interesting.

38
00:02:06,375 --> 00:02:10,000
In 25 years, an image 
of an instagrammable beach,

39
00:02:10,000 --> 00:02:12,583
where you spent a day one summer with
200 strangers

40
00:02:12,583 --> 00:02:15,500
will have less value than

41
00:02:15,500 --> 00:02:18,333
an image of your father washing the
dishes,

42
00:02:18,333 --> 00:02:22,833
or of someone sharing your life
taking a call, or sleeping, smiling...

43
00:02:24,666 --> 00:02:27,125
Look at this elderly couple.

44
00:02:27,125 --> 00:02:31,500
 Here they are sitting at a table.
Doing nothing. Saying nothing.

45
00:02:32,375 --> 00:02:36,041
They simply exist in this
captured time.

46
00:02:36,041 --> 00:02:39,791
A kind of animated photo,
a moment of nothing,

47
00:02:39,833 --> 00:02:41,958
of waiting, of peace,

48
00:02:41,958 --> 00:02:44,375
so far from all that stimulation,

49
00:02:44,375 --> 00:02:46,541
that agitation of our present life. 

50
00:02:46,791 --> 00:02:49,250
Today, no one is doing nothing!

51
00:02:49,250 --> 00:02:51,500
-Earlier on, you were telling me 
how it started,

52
00:02:51,500 --> 00:02:54,500
how you started, but you didn’t
really say why?

53
00:02:55,625 --> 00:02:57,416
What do you get from it?

54
00:02:57,833 --> 00:02:58,458
- Anemoia !

55
00:02:58,458 --> 00:03:00,000
It’s ...

56
00:03:00,875 --> 00:03:03,500
the emotional attachment 
to a time we never lived,

57
00:03:03,500 --> 00:03:06,500
a cousin of nostalgia.

58
00:03:07,166 --> 00:03:13,041
But … where
nostalgia is warm, content and sepia,

59
00:03:13,500 --> 00:03:15,833
my anemoia is cyan,

60
00:03:15,833 --> 00:03:18,708
and can raises a sweet
sadness.

61
00:03:19,375 --> 00:03:21,875
It's not the melancholia 
of my own childhood,

62
00:03:21,875 --> 00:03:25,041
that comes from a place that I
know and that I can float on.

63
00:03:25,041 --> 00:03:28,750
These are waves coming from all sides, 
from other times,

64
00:03:28,750 --> 00:03:32,666
other places, dragging me away
from who I am.

65
00:03:35,708 --> 00:03:37,916
There! Look! This family in their
Sunday best.

66
00:03:37,916 --> 00:03:40,500
Back then, people walked
around dressed up on a Sunday,

67
00:03:40,500 --> 00:03:43,333
even at the beach. And all over the world,

68
00:03:43,333 --> 00:03:47,541
from Hong Kong to the United States...
It seems funny today…

69
00:03:48,291 --> 00:03:50,000
And…

70
00:03:50,333 --> 00:03:53,333
I love the snow on the screen :
the white noise before the film,

71
00:03:53,750 --> 00:03:56,916
the messiness of the film, 
the scratches, the artifacts,

72
00:03:57,291 --> 00:04:00,541
like wrinkles,
like the worn hands of our grandmothers,

73
00:04:00,541 --> 00:04:05,041
evidence of past time, 
of lived time. Testimony of the journey

74
00:04:05,041 --> 00:04:07,916
these memories have 
made to get to us.

75
00:04:09,041 --> 00:04:12,416
I get quiet attached to these
characters, to an uncle

76
00:04:12,416 --> 00:04:15,416
who is not mine,
to a grandfather, or a grand-daughter.

77
00:04:17,041 --> 00:04:20,125
-Ok, but you still don’t keep all the
memories you’ve found?

78
00:04:20,125 --> 00:04:21,500
How do you choose them?

79
00:04:21,500 --> 00:04:23,125
How do you sort them?

80
00:04:23,375 --> 00:04:26,083
-Well… I don’t really sort them.

81
00:04:26,083 --> 00:04:29,291
There’s no real method or order

82
00:04:30,041 --> 00:04:33,083
I am not a archivist,
I don't work for others,

83
00:04:33,083 --> 00:04:34,708
or with historians.

84
00:04:34,708 --> 00:04:36,041
I’m not the national archive,

85
00:04:36,041 --> 00:04:38,916
what I do is more selfish

86
00:04:38,916 --> 00:04:41,875
I’m a collector.

87
00:04:41,875 --> 00:04:46,375
I select things that move me, 
I keep the beautiful...

88
00:04:46,375 --> 00:04:50,250
Some of these nonmemories really make
me want to dance

89
00:04:50,250 --> 00:04:53,250
to run, to shout out for
joy at the world.

90
00:04:53,333 --> 00:04:57,000
Others are like little stories that we tell
to a child

91
00:04:57,291 --> 00:04:59,083
at bed-time:

92
00:04:59,083 --> 00:05:02,458
it's less the content than 
the sweetness that counts.

93
00:05:02,833 --> 00:05:06,750
Some of them make me feel slightly
uneasy, because they’re so intimate

94
00:05:06,750 --> 00:05:10,166
that I feel like I’m stealing from 
or disturbing them.

95
00:05:10,750 --> 00:05:14,625
All of them leave me with 
a shiver I can't explain.

96
00:05:14,875 --> 00:05:19,083
They awake a troubled pain in
me, a dull anguish,

97
00:05:19,791 --> 00:05:22,666
an aftertaste of salt,
of loneliness, of death.

98
00:05:23,875 --> 00:05:26,750
I console them. 
I console myself.

99
00:05:26,750 --> 00:05:32,458
I bring them back to life
and dream them until these feelings fade.