← Back to main page

I am the Other

single-channel video, 3D animation and footage, 10'39''

A science-fiction narrative follows a consciousness made of virtual information trying to become real by making someone else abandon a socially constructed identity.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

I am the Other - 2017, single-channel video, 3D animation and footage, 10’39”.

This is a science-fiction film in which a consciousness made of virtual data wants to transform itself into an existential human being. To achieve this, it must make another individual give up his own identity, an identity that has already been elaborated socially by others.

The film combines images captured in real life: surveillance cameras above the beach in Nice, furtive images filmed at the Chinese embassy in Marseille, and the burning of a passport. Political and ideological factors are displaced into another fictional world, where the title I am the Other reopens the question of whether the “I” is a stable self or a process moving endlessly toward others.

Process notes

I built the film out of materials that already work like identity machines: surveillance footage from above the beach in Nice, a passport burning, images shot furtively near the Chinese consulate in Marseille. None of it is there as proof. I folded it into a 3D fiction where a consciousness made of data wants to become a real person, and can only do it by making someone else give up an identity others had already built for him.

Its characters carry the names of files — catwalk_sequence_02.FBX, the code 90G07L11 — as if the script had been written by the system that stores it. At one point a black screen marked DATA asks the question straight out: if I have read another person’s data and become part of him, what is the self now? The double online keeps surfacing in floating pages and social posts, until being represented turns into a kind of space — one you can enter, copy, and be mistaken inside of.

Festivals / screenings

  • 2018, Instants Vidéo (31e édition), Marseille, France — Screening in the festival programme.

Exhibitions

  • 2019, OVNi Festival, Villa Arson, Nice, France
  • 2018, Æmergence, Paris, France
  • 2017, CALISTO CALISTOBRAMALVRAC, la Galerie de la Marine, Nice, France
  • 2017, MOLECULAR DYNAMIC STIMULATION, Villa Arson, Nice, France

Links / references