Autumn Clothes could be like the day of O Marinheiro (FID 2023), which offered the work of Fernando Pessoa to the ear. Same workshop, same dam. Another journey. The black screen of Yohei Yamakado's previous film is replaced by the light of a spring in Porto, the outpouring of Debussy's Suite bergamasque , the sweetness of an arrival at the station, a lipstick, ebony hair, a very blue jacket, three kind faces, a visit. In O Marinheiro , Rita Senra lent her voice to the reading of the text. Here, she is inaudible since the film is silent: Yohei Yamakado plays with the springs of silent cinema. A book is found by Mana Haraguchi, the visiting friend: Autumn Clothes by Ichiyo Iguchi. The Japanese language then emerges, the filmmaker's native language. An internal language, it seems to come from elsewhere. Indeed, the filmmaker organizes a double distance from a playback: the reading is asynchronous (recorded in a time other than that of the shooting), and the sound of the voice slightly desynchronized in relation to the movement of the lips. From this last discrepancy, disturbing, a gap emerges. That of exile perhaps. Rita Senra prepares tea for her friend, in small cups that we say are Japanese. The shots composed like paintings by Giorgo Morandi or Paul Cézanne are combined with elegant superimpositions taken from the reader's reverie. Each note, color, texture, exalts our sensitivity. In its refinement and its porcelain delicacy, Habits d'automne is based on an existential requirement: "Beauty will save the world" said Dostoyevsky. " Cinema, for Yohei Yamakado, is then a country where works and cultures respond to each other and where all the arts are celebrated. The workshop, a "place without a home" dear to Jean-Luc Nancy, a place where "something common and therefore meaningful" occurs, of "being-with" is the place "of a being touched by existing". Thank you for the visit. Claire Lasolle