In this film, Périot presents a tongue-in-cheek ultimate solution for all homosexuals: integrate yourself in the world of the heterosexuals, ideally become one yourself.
9,000 photos generated from Google, processed and edited to create the illusion of a journey.
The Marseillaise accompanies pictures of soldiers, battles, rallies and cheering crowds: the victory of liberty, equality and fraternity over Hitler’s barbarians.
Gays are the people with good taste who hang around in art galleries and smell good, as every child knows. Coming out is as mundane as brushing one’s teeth.
A man facing a (camera) mirror. The naked, young upper body suggests images and concepts from advertising and the media … which begin to dissolve as the body is revealed as damaged.
A frog, horse and duck are the protagonists of this short film, which is not an animation, since the toys’ own movements are filmed. Irritating? That’s what it’s meant to be.
Medical progress is a blessing for humanity, since it brings new cures and the chance of a longer life. But do we really want to know what sacrifices are made in its name? This film at least forces us to think about it.
Périot carefully edits archive photos from 1914 to 2006 that all focus on the same building but reflect even more clearly the lives of the residents of the city.
A concert project with prison inmates gives rise to the idea of documenting its broadcast outside the prison walls. Périot orders his camera operators to stay on the faces longer than the duration of a song.
Group shots of politicians, family and holiday pictures, until the gradual isolation of individual persons in freeze frames begins to dissolve all order and the individuals unite in a new, archaic organism.
Part two of the prison project. Its starting point is the question what unites all humans (inside and outside): dreams. Texts are written with the inmates, songs and performances rehearsed.
Police officers exercising their power. Or is it a misuse of power? Périot uses disturbing archive material of protests and combines it with the powerful statement of the music on the soundtrack: “This is not a lovesong!”
The African-American protests in the 1950s and 60s and the beginnings of the Black Panther Party were historic watershed moments.
In rapid and repeated image sequences Périot deconstructs archive footage of war planes, bombings and the resulting destruction.
Images projected backwards play with the assumption that everything used to be better. A grand design for the possibility of reversal. What if?
