Our March Issue is an experiment in itself that encapsulates everything that we represent at Labocine (laboratory/cinema). The curated program presents the shapeshifting brain and its various identities: a character, a filmmaker and a machine. We highlight the cerebral processes that power the images and sounds that we observe, interpret and experience. We capture the surface and the innermost layers of the screen. In this selection of films, we pay attention to the grain and the anatomical structures that remind us of motion, perspective, speed, narrative, memory and emotion. We attempt to make the invisible visible traveling through time and space. With our title, we pay tribute to Deleuze essay The Brain is the Screen". In his own words:
The brain is unity. The brain is the screen. I don't believe that linguistics and psychoanalysis offer a great deal to the cinema. On the contrary, the biology of the brain—molecular biology—does. Thought is molecular. Molecular speeds make up the slow beings that we are. As Michaux said, "Man is a slow being, who is only made possible thanks to fantastic speeds." The circuits and linkages of the brain don't preexist the stimuli, corpuscles, and particles [grains] that trace them. Cinema isn't theater; rather, it makes bodies out of grains. The linkages are often paradoxical and on all sides overflow simple associations of images. Cinema, precisely because it puts the image in motion, or rather endows the image with self-motion [auto-mouvement], never stops tracing the circuits of the brain. This characteristic can be manifested either positively or negatively. The screen, that is to say ourselves, can be the deficient brain of an idiot as easily as a creative brain [of a thinker].