Jean-Stéphane Bron’s cinema proceeds, as he himself says, from a desire to offer a constructed vision of the world. That the Lausanne documentary filmmaker is interested in a parliamentary committee (Swiss engineering, 2003), the subprime crisis (Cleveland contre Wall Street, 2010), to a populist politician (The Blocher Experience, 2013) or lyrical music (Opera, 2017), he always begins – rather than launching headlong into an immersive approach inherited from direct cinema – by asking himself what would be the best way to tell a story. Let this be the mock trial of Cleveland contre Wall Street or the virtual confinement of Christoph Blocher in the back of his car, he has thus always been able to transcend his subject by means of a device allowing him to impose a real point of view, to guide the viewer’s gaze and understanding.
An interview from 2018: “The documentary offers a constructed vision of the world”
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