Vasil, 26 years old, has been working in France in the construction industry for several years;
his wife and child have remained in Romania. Together with Nino, his boss, and Dafina,
they form a particularly close-knit and efficient team on the worksites.
Yet deep down, Vasil has decided that this day will be the last of his exile.
―Synopsis
Directed and written by : Julien Tilti and Olivier Poisson
Production : Philippe Braunstein, Laurent Breuil, Tristan Charron, Mickael Girault, Alexandre Herer
Music by Jean-Christophe Gairard (violin, viola, mouth whistle, guitar)
- Prix de la meilleure musique originale
- Prix de la critique du Syndicat français de la critique de cinéma
Festival Off-Courts, Trouville-sur-Mer, FR
- Prix du Meilleur Scénario Original
Nice, FR (2025)
- Sélection Campus
Namur, BE (2025)
Cântec din aprilie gare
Tsuica
Cântec din aprilie fourgon
Le chantier
Indoiala și Hora de plecare
Pingouin & Goéland et leurs 500 petits
This is the story of a couple who couldn't have children and ended up having hundreds.
Louise (JC Gairard's title) / La Douche (Michel Leclerc's title)
Animation Marceau
Blues / Biographies
Louise duo / École pirate
Epuration Part 1
Epuration Part 2
Rumbita / Créer des racines
Valse triste / Le doux cocon
Idée n°7 mandoline / Ose
Idée n°5 / Route barrée
Ivan's Childhood
Orchestration for Musical Studies Diploma in Film Scoring at the Marseille Conservatory, 2023.
Opening sequence of Ivan's Childhood (Ива́ново де́тство, Ivanovo detstvo), directed by Andrei Tarkovsky.
Co-written by Mikhail Papava, Andrei Konchalovsky.
I realize that the gap between the "old" and the "new world" is greater than I imagined.
Coloniality is still very much present. I want to talk about it.
―Bárbara Maia
If the methodology used for the sound and musical composition of this piece is based on the principle of generative themes or motifs (melodic and/or rhythmic), my experience as a composer, previously limited to instrumental composition or for cinema, is profoundly enriched by the theater, particularly this engaged theater.
Music, as a support to the discourse, is entirely representative of my position in the play. It is a life narrative, a battle that I witness but that is not my own, simply due to my condition as a white heterosexual European man. In this play, the music never takes precedence over the theatrical performance; its role is to invite deep listening, a profound engagement with the narrative that comes from afar, from the other side, from our supposed "past" colonialism that unfolds in the present.
Offering my support to this work now seems like a natural choice: using my own tools to aid the struggles, to make them visible so they may come to fruition.
See the project's page for more information on the theatre piece.
Music examples
A kind of samba that illustrates the character's entry into memory:
Royalty, a parody that denounces the colonial poverty of that country, Brasil, where the prince must sell lands to afford a decent enough outfit for the marriage of the Prince of Monaco.
Rebolar, move your butt, in Brazil it is a verb full of meaning, it means dancing by moving your hips.
It also means improvising, facing a difficult situation.
Violated since 1500, we have to Rebolar every day to laugh a little more and cry a little less.
To get out of the prison of yes and no that was imposed on us.
To cure. To (sur)vive. To celebrate our beauty and our abundance that resist.
