Born in 1935, Roger Danel very early was interested in the cinema since it received his first camera 8 mm in gift at age the 17 years and carried out at once its first film with scenario, with actors (the memory, 1952). Before converting with the digital video, it practised all the silver formats, and was even the first nonprofessional scenario writer in France to carry out a short-measuring in Cinemascope (the dumb man, 1963). Independent scenario writer, it to date counts more than one forty films. One identifies, in his production with the passing of years, of the recurrent themes which feed as many cycles: Breton sea (where P.Loti often inspires it), the psychological dramas, the libertarian claim, the science fiction, police intrigues. He received many distinctions, in particular for Sunlight lamps (1964), the wind blows where he wants (1973), the dumb man (1963), Torr-E-Ben (1990), Last Shot (2000), and Brittany de Pitou (2006)

Le vent souffle où il veut

by Roger Danel (1973, 14 min)

« Crimped by the melancholy and the corrosive liveliness of the text of Gerard Gilles, vibrating militant figure of the antipsychiatry during the Seventies, the wind blows where he wants, as its beautiful title reveals it to us, is filled up puffs of revolutionary poetry of after 68 and the 1st walk of homosexual pride in May 1971, year of the appearance of the FHAR (homosexual Face of revolutionary Action). Luminous farandoles and insolence of the slogans, sexual release and insurrection of the desires, the very beautiful one and too ignored film of Roger Danel, is also a load against the repressive systems. » KQ&AI

La vraie vie est ailleurs

by Roger Danel (1968, 15 min)

The idea of this film, designed as of March 1967, largely anticipated the events of May-June 1968, since it had as a subject the revolt of youth, in particular coed. One can say that it was been used for point by the events, or rather than those allowed film to be born, with demonstrators who were not observers? In 1967, the narrator (Gerard Jeanpierre) militated in a group “Seeks libertarian”, in which Daniel Cohn-Bendit took part besides and who published a small newspaper of the same name. Of course, the explosion of the revolt coed was not without incidence on the contents even film, which it contributed to nourish and direct. The author was itself in the middle of the action, while remaining a peaceful witness filming the events. Not without difficulties, with a camera 16 mm amateur, of which it was necessary to reassemble with the hand the spring engine. It happened for example that one of the friends of the realizer hides in a dustbin ‘to be able to film but, at the time of a load of CRS, the presser of the camera opened, which resulted in a “spinning”. These scrambled images were however kept in the assembly, because they bring a somewhat hallucinatory effect. Beyond the event-driven one, one notes that the reflexion of the narrator (Gerard Jeanpierre) rises remarkably above the topicality and analyzes in terms of unconscious collective the “concrete neurosis” which then started to seize our cities. Let us greet this premonitory vision which one did not finish, alas, to observe the accuracy.