Space is a raw material and a special subject for film: any film is the encounter of a place (be it that of the room or the screen) and an imaginary. The moving image allows a motionless trip, it is a transit that deploys imagination by objectifying. So travel through the images is also a journey in the image: it is this duplicity that underlies all these films, that explore the boundary between the real space and the imaginary that is appropriated or transmitted, be it technical or subjective.

Free admission. Session with the presence of filmmakers Mauricio Hernández and Philippe Cote.

Abraham Ravett was born in Poland in 1947, raised in Israel and emigrated to the U.S.A. in 1955. He holds a B.F.A. and M.F.A. in Filmmaking and Photography and has been an independent filmmaker for the past thirty years. Mr. Ravett received grants for his work from The National Endowment for the Arts, The Artists Foundation Inc, Boston, MA., The Massachusetts Council on the Arts and Humanities, The Japan Foundation, The Hoso Bunka Foundation, the John Simon Guggenheim Memorial Foundation, and the National Foundation for Jewish Culture. His films have been screened internationally including the Museam of Modern Art, Anthology Film Archives, The Collective For Living Cinema, N.Y.C., Pacific Film Archives, Berkeley, CA., S.F. Cinematheque, L.A. Forum, Innis Film Society, Toronto, Canada, Image Forum, Tokyo, Japan and Scratch Projection, Paris France, WRO Art Center, Wroclaw, Poland and Ponrepo, Prague, Czech Republic, among others.

From Pasolini to Bazin (football) via Daney or Godard (tennis), sport has fascinated many filmmakers and film theorists, as a social fact but also for its undeniable aesthetic qualities of bodies that box, swim, run, of body represented in the effort, nudes or not. This phenomenon is part of a historical continuity of the image. Indeed, we see at the end of the nineteenth century, after centuries dominated by particular religious iconography, a resurgence of this representation, notably Manet, Cezanne and Degas.