Ixe (Lionel Soukaz, 1980)
Ixe by Lionel Soukaz, both an autobiographical essay and a political leaflet, utterly violent, constitutes a radical off-screen variation of Etant Donnés' films. And yet, in the pursuit of ecstasy though drugs, the film calls upon the same solutions: ecstasy as the connection with the cosmic (the cosmic as an imagery: galaxies and planets "re-filmed" on television) , slow motion (of sound, this time, establishing two different speeds of consciousness), ecstasy as a seriality and the camera-eye. Here, ecstasy is no plenitude, but some substraction, that gets renewed strength from its own pursuit as a political resistance to the horror of the world.- Xavier Baert
A rather Godard-ian experiment in that its pursuit of truth and freedom emerges from the arrangement, the violent assemblage of images, as ideas and emotions bleed into each other. The image's material nature is preserved, and a certain metaphoric sense develops from the juxtapositions (the "third image"), while the whole thing is loosely held together by the electro-pop soundtrack and the mad laughter. A constant high is evoked in the latter half of the film in the form of drug-induced hallucinations and passionate sex, before the world explodes. This is a shocking map of a mind trapped in a specific time, witnessing History from inside his flat, on a television screen. I hope I can write something more coherent on this fascinating film in the future.