TABLE OF CONTENTS

PRINT September 1996

LETTER

Île de Beauté

IF AMERICAN ARTISTS HAVE BEEN turning to celluloid in record numbers (Julian Schnabel’s Basquiat being only the latest such venture), the French aren’t far behind, even if they have bypassed Hollywood for the look and feel of experimental film. Last winter, Sophie Calle’s road-movie cum unrequited love story, No Sex Last Night, 1996, an debuted in a few art-house theaters; this fall, Ange Leccia and Dominique Gonzalez-Foerster will follow suit with their first filmic effort, Île de Beauté (Island of beauty).

Gonzalez-Foerster, whose own artwork often draws heavily on biographical accounts, worked with Leccia to cull images from his decade-old videos of trips to Corsica (his birthplace) and Japan, then arranged them in a highly evocative, nonchronological sequence. The focus shifts from airplanes, boats, jet streams, and seaside roads—the means and modes of travel—to sparsely populated, at

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