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2020. április 28 - május 2.

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Director: Barbara PANERO
13 min. 2014,
with dialogue, French & German, English subtitled
Producer: Barbara Panero
Screenplay: Barbara Panero
Cinematographer: Barbara Panero
Editor: Barbara Panero
Sabine Burg, principal actress

Paris, 15th January, her birthday, she's alone in her kitchen, living her daily life, silently and waiting for some calls. How to substitute the absence of the other? Writing a letter in a form of video poem.

This movie tells this urban loneliness we do not express so easily to the others and ourselves. How to film this invisible and unutterable loneliness of our daily and urban life? What is loneliness? A state to be with space and time. A sate to be with sounds and silences of our daily gestures. How to film the interiority and the sonority of this feeling? Through a true and intimate camera, fixing in a long take, of image and sound, the figure of a woman, alone in a room, in her kitchen, preparing her ritual morning daily coffee.

Alone is a kind of room movie, a journey on the spot, without music added, inside a small and short space, those of small Parisian single rooms for single people, for lonely persons. The movie questions our way to be intimate, in the same time hidden and in relation with outside through a window. The radical tension between outside and inside, this permeable frontier between exterior and interior, formed by movie through the possible disjunction between image and sound, enable to slide little by little into the interiority of this woman until to feel and to hear her intimacy, her private thoughts.

Staying alone, the day of her birthday, she ritualizes the event telling a long poem, in voice over, this voice that will join in the end of the movie, the sound and the image disrupted before, because she’s hurt inside of her.

Like a Roommovie, intimist and minimalist, Alone is a kind of woman portray, autofictional, between documentary and fiction, a woman in loved who sends a latest letter, in form of poem video letter, to an ancient lover.

This movie presents, in latency, a reflexion about our daily sounds that live in our interior spaces. The banal sound of a coffee machine, for example, preparing a coffee, until this final whistle, telling us the moment to take the coffee machine off, this sound takes part of our sounded daily life, so familiar, so ritualized, that we forget its presence and the consciousness of its being.

Therefore, the movie begins through a long take inside a general view on a little kitchen where we are hearing slightly, little by little, the sound of the coffee machine, until noticing it in this general view saturated of objects.

These daily sounds of our private interiors: a door opening, a cup setting on a plate, a spoon twirling inside a cup, a window ventilation whirling, letters sliding under the door, a shirt pulled off on a chair, the sound of a water shower, a phone call. These sounds so present but in the same time so invisible, because we are indifferent to their presence, because we get used of them, what do they represent for us?

These sounds accompany us in our daily life until to take the place sometimes of our talking. They indicate our presence, to stay in a room, in our private room. They are the music of our daily life. That ‘s for the movie is radically out of added music (extra diegetic), to better hear this sound daily life, our inner music.

Most of the time, these daily sounds fill in our loneliness until to reveal it, making it physic. How to represent through cinema, this state of loneliness, this state to be alone in a room? More than an image, screening a woman, apparently alone in her kitchen or at a window, the movie shoots the sound ceremony of our alone daily life, from morning to night, from the moment she gets up to make her coffee until and before she switches off the last light.

How to represent formally these daily sounds? Through a simple and truth camera, without searching amplifications or some sound effects, but respecting the sound ambient, through an aesthetic of the banality. And it is through this artistic intention that will reveal to the audience, in a pure realism, the presence of things through their sound visibility.


Little by little, this sound continuum, shot in one long take at the beginning of the movie, will be interrupted during the movie, through the editing operation, in order to get conscious more subtly of our sound banality, between sounds and false silences. It is the moment where she tries to write a letter, a first disjunction of that sound flow is realised. But this first disjunction was already announced, during the second call when Mary, her friend, tells her she will not be able to come to her birthday.

On this quick frame screening a letter on a table, the image becomes muffled. As it was becoming blurred, by the sound. It is a way to make the audience out from the movie, to disconnect the story, through disjunction of sound flux, in order to disturb and divert the usual audience’s waiting and make the audience go inside to one’s self and the woman’s inner self. Through the various cuts of editing, some invisible failure is coming, the failure inside of this woman.

Cut to black after the letter sequence, the woman in the movie appears again in the street, again in her daily life. She’s coming back to her house; she takes the lift. This moment has been edited out of sound, in order to create more rupture with daily sound and with the interiority of this woman, shot by alternating white et black light, present and absent image of her. She will stay alone the day of her birth’s day.

In the end of the movie, she’s again in her kitchen. But that time It is dark inside. The daily sound is off and little by little comes back slowly meanwhile she prepares the blowing of her birthday cake. We hear in voice over, the voice of the woman, that means her interiority. We had to cut the daily sound before in order to express in this long sequence, edited in slow motion, the sound of poetry and make an emotion coming, subtly, meanwhile she is saying a long poem. This voice over joins again the sound and the image that were disjoined before. This voice over gathers the pieces apart of the interiority of this woman, the fragments of our psyche, troubled of absence and loneliness.

Major screenings, presentations:

French preview 4 and 5th october 2014 melees cinema in port de bouc (near marseilles), south of france

Barbara PANERO

Author, director, movies programmer and coordinator.
Born in 1975 in Italy, She lives and works in Marseille, France.
Self taught and cinema lover, she began to practice in short movies as an actress and to write and make small poetic and intimist movie essays in super8 and video.
After a movies theory master at the university of Aix en Provence, she wrote an aesthetic reflexion about intimacy and love scene in modern movies through the set and space of an hotel room, from Alain Resnais to Wong Kar Wai through Andy Warhol, Milos Forman, Barbara Loden, Chantal Akerman, Jim Jarmush, Gérard Courant and Jean-Luc Godard.
She worked at the organisation of movies festival (International documentary film festival in Marseilles (FID), Italian movie festival in Annecy, Woman film festival in Marseilles). She programs and organises screenings and cine-clubs.


Seule, fiction short movie, 13mn, dv, coul, 2014.
Un jour tu ne verras plus mon visage, poem video, 5mn, coul, HD, 2009.
Desmemoria, fiction short movie, inspired from the 10th chamber of Raymond Depardon, 7mn, coul, HD, 2009.
Super8 series concept Write me your dream… through the wings of a paperplane, n°1 (Carla), n°2 (Carole), n°3 (Annie), n°4 (Tonino).

Video letter to Abbas Kiarostami, video letter, 30mn, coul, dv, 2014.
Avec le vent, video poème, 5mn, coul, dv, 2012.
Qu’est ce que le cinéma, pour toi ?, documentary movie, 85mn, coul, dv, 2011.

Selected to GREC writing residence for the project of creation documentary « Un espace de cité, l’Amour ».


L’amour viendra et elle aura tes yeux, inedit text, writing, directing and acting, for the manifestation Printemps des poètes, 2010, Galerie Bossy, Gardanne, France.
Imagine qu’un jour tu rencontres l’amour, inedit text, writing, directing and acting, for the manifestation Printemps des poètes, 2008, Galerie Bossy, Gardanne, France.

ACTRESS on various short movies, in Paris, from 2006 to 2009.
• New York deux ans après, documentary movie, directed by Laure Marie Lanoe and Laurent Pierquin, 2008.
• Autour de la poésie et du cinéma de Abbas Kiarostami, directed by Jean Pierre Raffaelli, Studio du cours, Marseille, 2004.
• Autour de la poésie de John Giorno, directed by Jean Pierre Raffaelli, Studio du cours, Marseille, 2002.
•La Cie du JAI, directed by Robert Roure and Dominique Chante, (textes from Brecht, Beckett, Ionesco, Koltès...), from1991 to 1995.












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