LE SAVOIR-FAIRE

September 29th, 2014

For latest fashion film, we headed to… a Belgian butcher shop.

“LE SAVOIR-FAIRE” by The Stimuleye, a film for Jean-Paul Lespagnard’s #1/2015 collection,
with music by TEPR.


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HYERES 2013 EXPRESS 03 EXHIBITIONS

April 28th, 2013

Besides the photo and fashion competitions, one of the Hyères festival’s strongpoints are the original exhibitions it curates. Amongst this year’s shows, Lacoste designer and 2002 Hyères winner Felipe Oliveira Baptista, up and coming photo/video/grapher Pierre Debusschere, 2001 Hyères winner photographer Charles Fréger, and ROUGH PROOF, a look at the early works of Guy Bourdin with special pieces from the private collection of Marie Laure de Noailles… of course.

A THE STIMULEYE PRODUCTION
directed by Antoine Asseraf
filmed & edited by Thibault Della Gaspera
interviews Filep Motwary
coordination Clementine Colson
sound design Ça Va Chéri


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welcome to marie laure’s

April 10th, 2013

The Stimuleye is proud to present the Hyères 2013 teaser trailer – Welcome to Marie Laure’s, starring Suzanne von Aichinger as the reincarnation of the legendary Marie-Laure de Noailles. Of course.

International Fashion & Photography Festival 2013
Hyères – Teaser

April 26 – 29, 2013
Villa Noailles, Hyères

http://www.villanoailles-hyeres.com/2013/

Film by Antoine Asseraf & René Habermacher
starring Suzanne von Aichinger
as Marie Laure de Noailles

Styling by Suzanne von Aichinger
assisted by Simon Gensowski & Laure Grandon

Hair by Panos Papandrianos @ CLM UK
Make-up by Min Kim @ Airport Agency

Sound design by Ca Va Cheri


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7 women, 1 star goat: the capsule

February 4th, 2013

Experimental film. Feature film. Art film. Fashion Film.
Greek, English, German, French, Turkish.
For her latest project, director Athina Rachel Tsangari lets neither labels nor languages get in the way.
Rather, she encourages pandemonium, while unleashing discipline on her 7 international actresses, and the 7 goats which co-star with them in “The Capsule.”
As a special envoy for The Stimuleye, René Habermacher spent some time with them and the biggest diva on set: Bekos, the star goat.

02_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE
The headmistress unleashes the beast: Ariane Labed, French but Athens-born actress known from "Attenberg" 
and her favourite: Bekos, the beehive-tressed star-goat. Photo by René Habermacher
The sun’s first hot rays glisten over the aquamarine waters, parted by the approaching speedboat.
The destination: a barren island in the Aegean sea, named Hydra.
Hydra once harbored pirates but now hosts the “classy” summer retreats of wealthy Athenian families, low-profile expatriates and not-so-low-profile socialites.
Between dark needles of cypress trees, remnants of other times, splendid historic mansions are scattered up the amphitheatric hills framing the town.
Built in hard labour over generations, the city-island-state of Hydra exceptionnally paid tributes to the Ottoman empire in exchange for a dose of freedom, which they turned into wealth and influence.
04_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE_ARIANE_LABED
A sphinx above Hydra: Ariane Labed in midday heat on the terrasse of Tombazis manor. Photo by René Habermacher.
It is here that one of the island’s generous patrons, art collector Dakis Ioannou, owns a townhouse and runs a project space in the town’s old slaughterhouse through his Deste Foundation. This translates into a yearly invasion of the art world glitteratti to celebrate projects by Maurizio Cattelan, Mathew Barney or Doug Aitken, to name but a few of the guest artists.
As the boat approaches, on the far right of the jetty sits the island’s most impressive building, the Tombazis Manor, long abandoned by its family. A short but steep walk uphill through narrow stone-laminated alleys opens to the building that once housed Marc Chagall: an array of arcades, corridors and rooms, intertwined as the set of a wicked dream, its cool obscurity glacified in time. An unusual activity disturbs this idyl.
08_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE09_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE
Between fortified walls of the mansion, shadows of the past and present terror of besetting obsessions:
young actresses Isolda Dychauk, Aurora Marion and crawling: Evangelia Randou. Photos by René Habermacher

By invitation of Dakis Ioannou, a film crew under the helm of Greek movie director Athina Rachel Tsangaris is attempting to interpret the egregious, violent universe of Polish artist Aleksandra Waliszewska in multiple frozen frames.
The starting point to this project : the Deste “Fashion Collection”. After collaborations with M/M, Juergen Teller, Helmut Lang and Patricia Cavalli, it seemed to be time to work with a Greek, and who better than film maker Athina Rachel Tsangari, who has stirred some waves internationally with documentaries and fictions alike.
The commission’s unique approach to fuse art and fashion from a art-curatorial perspective led Athina to set filming on the Island of Hydra. Not to be confused with the other Hydra, the ancient serpent-like water beast bearing several heads, with the ability for each cut off head it grew two more…
07_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE_CLEMENCE_POESY06_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE
Clémence Poésy in expectation of the headmistress. Photos by René Habermacher.

The last member of a cast of women just arriving from Bruxelles, unsettled and wide-awake after a sleepless journey, French actress Ariane Labed is speeding to join the set where work has begun some days ago. The role she is hurrying towards: the headmistress. Lecturing pupils in a drill of discipline and demise. They are her victims and possible trigger for her final surrender. But this not clear.
The preparations for a key scene at the mansion’s bel étage have her co-stars lining up on the black and white checker marble floor, confessing to the mythical yet vulnerable character of their dominatrix that sit them facing, dressed in her armour. A piece by Sandra Backlund knitted from human hair.
Routine at the boarding house: The line-up of disciples, top right Evangelia Randou, lower right: Sofia Dona.
Each one of her disciples is to kneel in a black boarding school uniform, with neat white “col claudine”, to receive punishment or absolution:
French actress Clémence Poésy, Russian-born ginger-haired actress Isolda Dychauk, dancer Evangelia Randou, actress Aurora Marion, director Deniz Gamze Ergüven, architect Sofia Dona, and finally Aleksandra Waliszewska, the artist inspiring this slipstream of scenes for what is going to be a trip called “the capsule”.
Between the walls of the ancient building, a world of secluded women, whispers, secrets and violence:
“ich will sie alle töten. Ich möchte hier alleine bleiben mit ihnen,” confesses Isolda and gets away unpunished, unlike the others.
Their faith lays at the clicking thimble-clad fingertips of Ariane. But does it really?
03_THE_CAPSULE_RENE_HABERMACHER_THE_STIMULEYE_CLEMENCE_POESY
Clémence Poésy confesses: "J’ai eu envie de mettre des bris de verre dans les chaussures d’Isolda." 
while her dominatrix is about to get more creative with punishments. Photo by René Habermacher.
Fragments of scenes linger like particles in the still air, lit by rays of distant light. Emotions whirl and loop in repetition.
As the sun wanders and fades multiple times, filming continues to ever later hours and let the fictions fringes blur. The crew becomes hostage to the ancient mansion, a surreal, yarn-spinning fairy tale. Roles and reality intertwine in the fabric of a captivating Greek Gothic mystery.
Somewhere in the mansions underbelly glows Ariane’s gown, a creation by Canadien artist Ying Gao. The ruffles of the sheer fabric move in slow motion, animated by fine tuned micro-robotics, the dress is adorning her floating silhouette in the pitch black of the vault.
Ariane at the onset of darkness, wearing a micro-robotic geared gown by Canadian designer Ying Gao,
for which Bekos the goat developed an immense appetite. Photo by René Habermacher.
Ariane’s last scene ends with the day, the private speedboat waiting at the quai to take her back to Piraeus.
Its a wrap. As the crew departs the set, the deserted mansion continues to stare over the empty promenade under an anemic moon.
Alone, Bekos, the star-goat, pet to the headmistress, remains; saved from being served for the Easter feast, and hopefully living happily ever-after.
One of Bekos's caprices: an endless hunger for attention, and bits and bites of the costumes. Photo by René Habermacher.
“The Capsule” continues its journey to festivals, after Sundance the next stops:
25th Angers Premier Plans Film Festival, France, 2013
48th Solothurn Film Festival, Switzerland, 2013
36th Göteborg International Film Festival, Sweden, 2013
More information: THE CAPSULE

Posters for The Capsule: Design by Ania Goszczyńska with artwork of Aleksandra Waliszewska

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hanaa

November 15th, 2012

It’s not everyday that an Arab woman is chosen by a major cosmetics brand as its global spokesperson…

The Stimuleye presents “Hanaa”, a film by Antoine Asseraf & René Habermacher, starring Tunisian model Hanaa Ben Abdesslem, spokesperson for Lancôme.

Antoine Asseraf: Where are you from, and how were you discovered ?

Hanaa Ben Abdesslem: I was raised in a town on the sea coast of Tunisia named Nabeul. 
I dreamed of becoming a model since I was very young.

In 2009, I participated in a reality TV show for models in Lebanon.  There I met Sophie GalaI, who would become my manager, and in 2010 she presented me to IMG Paris, who in turn presented me to Carine Roitfeld, at the time Editor-in-Chief of Vogue Paris.

Through her introduction to Ricardo Tisci , I was chosen as a Givenchy fashion show exclusive that same season.
   
AA: You’re becoming an icon representing the “middle-eastern woman” in the fashion world and beyond,
but which people are icons to you ? Can you tell us a bit about your relationship with Farida Khelfa ?

My icons are the Tunisian women in the fashion industry, whom I admire and whose accomplishments I respect, such as Liela Menshari, Hermes window designer — she received the Golden Dido Award for her contribution to Tunisian culture and influences in world, and Afef Jenifen, who fought for Arab women’s freedom of choice and continues to defend their rights.

Farida is a great support and she always has good advice, such as “stay true to yourself.”

HANAA
a film by Antoine Asseraf & René Habermacher
starring Hanaa Ben Abdesslem
styling Yoko Miyake
hair Nicolas Eldin
make up Tracey Gray Mann
production by Clast
postproduction by The Stimuleye
text by Omar Khayyam
sound by Gnawa Diffusion
thanks Sophie Gallal

Look 1: Dolce & Gabbana
Look 2: Jil Sander by Raf Simons
Look 3: Chloé
Look 4: Stella McCartney


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films of the season: princess cornflakes

September 25th, 2012

Big is beautiful.
Biggerest is beautifuller.

The Stimuleye is proud to announce its Film of the Season™ for Vogue Italia,
its first full collaboration with CLAST productions,
a special commission for curvy clothing line For.me Elena Miro,
Princess Cornflakes.

Princess Cornflakes / ENGLISH VERSION

PRINCESS CORNFLAKES (English) from AntoineAsseraf+RenéHabermacher on Vimeo.

Princess Cornflakes / VERSION FRANÇAISE

PRINCESS CORNFLAKES (Français) from AntoineAsseraf+RenéHabermacher on Vimeo.

CREDITS:
Read the rest of this entry »


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coming soon: princess cornflakes

September 17th, 2012

Coming this week, a special collaboration with Vogue Italia,
Princess Cornflakes.

Princess Cornflakes poster by The Stimuleye

More to come…


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films of the season: monsieur chypre – a short film with erotokritos

May 18th, 2012

The Stimuleye is proud to announce, with the support of Vogue Italia, an “erotic fashion epic” : Monsieur Chypre.

“HE KNOWS WOMEN, AND WOMEN KNOW HIM”

Erotokritos, it’s a strange name for a fashion brand.
It’s an even stranger name for a person.
And yet, he is truly called Erotokritos Antoniadis, named after the main protagonist of medieval epic poem, a hero “born from the labors of love”.
For 15 years, his label has been seducing women of all ages, drawn to collections that go back and forth between the sophistication of Paris and the dolce vita of Cyprus…

Monsieur Chypre - Come and get it

"come and get it."

“THEY CALL HIM MONSIEUR CHYPRE”

France and Cyprus, Paris and Nicosia, it’s a long-distance couple.
In Monsieur Chypre, by Antoine Asseraf & René Habermacher, they come to life:
Loan Chabanol, channeling the nostalgia of Marguerite Duras’ The Lover, plays the tormented Parisian woman, cracking at the surface,
while Constantino Kouyialis, in his first first on-screen role, is a revelation as the seductive eponym hero, a modern day Alexis Zorbas.

Monsieur Chypre - Octopus

“AN EROTIC FASHION EPIC” we call it.

“Erotic,” how could it not be with a name like Erotokritos ?
“Fashion,” of course: stylist Michaela Dosamantes, fresh from winning Best Fashion Award at La Jolla Fashion Film Festival for La Main Dans Le Sac, mixes the season’s classic looks to capture the heroine’s transformation from “bluesy” in Vuitton to “red-hot” in Valentino.
And “epic” ? What else do you call a fashion film 10 months in the making, taking place not only in Paris but in numerous locations in Nicosia, in the salt lake facing the Hala Sultan Tekke mosque in Larnaca, in the Almyra and Anassa deluxe hotels, in small taverns by the side of the road, or in the majestic monument carved directed in the stone, the tomb of the Kings in Paphos ?

Monsieur Chypre - Mosque

“HIS VOICE IS A SONG”

All this, to the original soundtrack of Lori Schonberg and Shane Aspegren, members of Ça Va Chéri.
(Download it here).

So, now the tough questions.
Is Cyprus really like this ? A little bit. Not at all. It depends how you look at it.
It is an island of freedom in the east mediterranean, where couples from Israel and Lebanon come to escape religion. It is the birthplace of Aphrodite. You go, you decide.

So how can I meet this Mister Cyprus ? We hear that one a lot. From women (and men) of all ages. Maybe he’s real, maybe he’s a figment of our collective imagination, our repressed desires. One thing’s for sure — we can’t give you his number.

“ATTEMPTING TO CHARM HIM IS USELESS. HE IS THE ONE WHO WILL FIND.”

Monsieur Chypre
Film credits
Fashion credits
Goodies


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power couple : esser & elisha : 1 : benjamin esser

May 10th, 2012

Musician Benjamin Esser & director Elisha Smith-Leverock are not just a dream couple, they’re a power couple.
She directs his music videos, he scores her fashion films.

Now as they prepare to release the first single/video from the upcoming second ESSER album, a radical shift from the first LP’s pop mood to darker synth pop, we talk to them about music, film, fashion, and what it’s like to work with your significant other.

Interview by Filep Motwary & Antoine Asseraf.

Benjamin Esser by Filep Motwary.

Since the release of your debut album back in 2009, what are the changes to the way you perceive your own music, and how it has evolved?

Benjamin Esser: I think the beauty in first records is naivety, which you can never regain.
But I feel a lot less pressure in a lot of ways with this second one, there’s a confidence that means I can let the music take its time.
I think people might immediately assume that I ‘discovered’ a whole genre of music that I’d never listened to before. But that’s not true, I’ve always been into bands like Cluster, Tones on Tail, Suicide, Add N To X (mixtape – coming soon!)…

What is inspiration for you ? Do you consider yourself as eccentric?

I find inspiration in repetition.
Inspiration for me isn’t about looking outwards its about looking further inwards – into the core of things.
No I definitely wouldn’t say I’m an eccentric, I guess I have my own ways of doing things. But everyone does.

People would tell you my views on organization and timekeeping are fairly abstract. I strongly disagree.

ESSER performing at Hyères 2012 Fashion & Photo Festival, with Stage of the Art.

What are you looking for in music? And how do you measure success?

I’m looking for complete submergence.

What does it mean to you to have an image change, beyond the need to convey a change musically?
Do you care about fashion or style?

Well I completely agree with artists like David Bowie. His concept of reinvention was incredible and the conceptual way he approached his records is a big influence for me.

Of course the amazing thing about fashion is anyone can become whoever they want to be – I could be a different person by tomorrow.

at Hyères 2012

ESSER performing at Hyères 2012 Fashion & Photography Festival, by René Habermacher.

How is it to work with your wife – when she’s directing you around, when she’s making videos for other music acts or when you’re the one scoring her films?

I like it.
People always asume that you can’t be objective if you’re working with someone close to you, but I think it’s the complete opposite. We work together constantly actually and I’ll always ask her opinion on whatever I’m doing and vice-versa.
In fact we’re the only ones that can give each other honest opinions because we know each other so well.

As far as working on music for her films, she always has a really strong idea about what she wants. Which is great. It’s often a reinterpretation of a song (“I want muscle,” Donna Summers). So it’s always satisfying to do that.

What is the last thing that stimulated you?
Charles and Ray Eames.

COMING SOON : II : Elisha.

ESSER, ENMITY on Green United Music.

Thank you: Laurence Alvart, Pierre LeNy.


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monsieur chypre – a short film with erotokritos

April 11th, 2012

Exclusively on Vogue Italia

The Stimuleye presents, a film by antoine asseraf & rené habermacher

MONSIEUR CHYPRE
A Short Film With Erotokritos
a THE STIMULEYE production
STARRING
CONSTANTINO KOUYIALIS as MONSIEUR CHYPRE
LOAN CHABANOL (ELITE) as MADEMOISELLE PARIS
PARIS UNIT
STYLING – MICHAELA DOSAMANTES
HAIR – ROMINA MANENTI
 @ AIRPORT
MAKE-UP – TIINA ROIVANEN @ AIRPORT
PRODUCTION ASSISTANT – LYNSEY PEISINGER
LOCATION – HIROMI OTSUKA
CATERING – EROKITCHEN
VOICE by LYNSEY PEISINGER
MUSIC by LORI SCHONBERG + SHANE ASPEGREN
POSTPRODUCTION by THE STIMULEYE
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monsieur chypre: postcards

April 10th, 2012

Coming April 11, 2012 to Vogue Italia.

Monsieur Chypre

Cypriot countryside. By Antoine Asseraf & René Habermacher.

Monsieur Chypre

Monsieur Chypre

Monsieur Chypre

"Come and get it". By Antoine Asseraf & René Habermacher.

Monsieur Chypre

Monsieur Chypre

Monsieur Chypre

Hala Sultan Tekke / Larnaca. By Antoine Asseraf & René Habermacher.

Monsieur Chypre – A Short Film With Erotokritos

Vogue Italia


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films of the season: monsieur chypre

April 9th, 2012

An erotic fashion epic, one year in the making, THE STIMULEYE is proud to present Monsieur Chypre – A Short Film With Erotokritos, coming April 11th on Vogue Italia.

Starring Constantino Kouyialis & Loan Chabanol, styled by Michaela Dosamantes, and directed by Antoine Asseraf & René Habermacher.

Monsieur Chypre by Antoine Asseraf & René Habermacher

“He knows women, and women know him.”

Erotokritos, it’s a strange name for a fashion brand.
It’s an even stranger name for a person.
And yet, he is truly called Erotokritos Antoniadis, named after the main protagonist of medieval epic poem, a hero “born from the labors of love”.  For 15 years, his label has been seducing women of all ages, drawn to collections that go back and forth between the sophistication of Paris and the dolce vita of Cyprus…

“They call him Monsieur Chypre.”

France and Cyprus, Paris and Nicosia, it’s a long-distance couple.
In Monsieur Chypre, by Antoine Asseraf & René Habermacher, they come to life: Loan Chabanol, channeling the nostalgia of Marguerite Duras’ The Lover, plays the tormented Parisian woman, cracking at the surface, while Constantino Kouyialis, in his first first on-screen role, is a revelation as the seductive eponym hero, a modern day Alexis Zorbas.
“An erotic fashion epic” we call it.
“Erotic,” how could it not be with a name like Erotokritos ?
“Fashion,” of course: stylist Michaela Dosamantes, fresh from winning Best Fashion Award at La Jolla Fashion Film Festival for La Main Dans Le Sac, mixes the season’s classic looks to capture the heroine’s transformation from “bluesy” in Vuitton to “red-hot” in Valentino.
And “epic” ? What else do you call a fashion film 10 months in the making, taking place not only in Paris but in numerous locations in Nicosia, in the salt lake facing the Hala Sultan Tekke mosque in Larnaca, in the Almyra and Anassa deluxe hotels, in small taverns by the side of the road, or in the majestic monument carved directed in the stone, the tomb of the Kings in Paphos ? And we haven’t even mentioned the upcoming almost 10 minutes long directors’ cut….

“His voice is a song.”

All this, to the original soundtrack of Lori Schonberg and Shane Aspegren, members of transnational surrealist indie outfit The Berg Sans Nipple.
So, now the tough questions.
Is Cyprus really like this ? A little bit. Not at all. It depends how you look at it.
It is an island of freedom in the east mediterranean, where couples from Israel and Lebanon come to escape religion.  It is the birthplace of Aphrodite. You go, you decide.
So how can I meet this Mister Cyprus ? We hear that one a lot. From women (and men) of all ages. Maybe he’s real, maybe he’s a figment of our collective imagination, our repressed desires. One thing’s for sure — we can’t give you his number.

“Attempting to charm him is useless. He is the one who will find.”

MONSIEUR CHYPRE
a film by ANTOINE ASSERAF & RENE HABERMACHER
a THE STIMULEYE production
STARRING
CONSTANTINO KOUYIALIS as MONSIEUR CHYPRE
LOAN CHABANOL (ELITE) as MADEMOISELLE PARIS
PARIS UNIT
STYLING – MICHAELA DOSAMANTES
HAIR – ROMINA MANENTI
MAKE-UP – TIINA ROIVANEN
PRODUCTION ASSISTANT – LYNSEY PEISINGER
LOCATION – HIROMI OTSUKA
CATERING – EROKITCHEN
VOICE by LYNSEY PEISINGER
MUSIC by LORI SCHONBERG + SHANE ASPEGREN
POSTPRODUCTION by THE STIMULEYE
CYPRUS UNIT
ALSO STARRING
MYRTO KOUYIALIS
DIVA MODELS:
ALEXANDRA BUNETSKAYA
KLELIA YIASEMIDOU
ANNA DOROTHEOU
LOCATIONS:
ALMYRA & ANASSA
THANOS HOTELS
ALL CLOTHES CYPRUS: EROTOKRITOS ARCHIVES
PARIS CLOTHES featuring
LOUIS VUITTON, EROTOKRITOS, LOUIS VUITTON JEWELRY, APERLAI, MARC JACOBS, DIOR, FELIPE OLIVEIRA BAPTISTA, AURELIE BIDERMAN, OLATZ, KIKI DE MONTPARNASSE, BURBERRY AND VALENTINO
THANK YOU
Dimitris Dimitriou / Cyprus Tourist Organisation in Paris
Philippos Philippou / Cyprus Airways
Pavlos Metaxas / Diva models
Antonakis Bar
Eleni Chrysostomidou
Lida Philippidou
Mary Nicolaidou
Maroulla Antoniadou
Gallery Argo Nicosia
Kostas Mantzalos
The city of Nicosia
The city of Paphos
AND
Filep Motwary

Vogue Italia

Erotokritos


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films of the season 2: My Garden starring Kiko Mizuhara

March 2nd, 2012

Part 2 of our spring fashion film series takes us to Vietnam, a land of mysterious fruits and exotic flowers.

Norwegian Wood actress, Towai Tei-singer, and model Kiko Mizuhara lets us into her garden,
for Vivienne Tam.

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films of the season : CHIARA SKURA

February 27th, 2012

Spring is in the air, so the time has come to see the films of the spring-summer collections which will soon hit the stores… A little wishful thinking has never hurt, has it ?

First up: Marios Schwab and his dark yet summery, very Lana Del Rey, “Chiaroscuro” collection, starring himself alongside Amy Bailey, in Antoine Asseraf & René Habermacher’s CHIARA SKURA.

Read the rest of this entry »


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contest: beyond the wall

February 23rd, 2012

For the 27th edition of the Hyères Fashion + Photo Festival, The Stimuleye presents choreographer Lynsey Peisinger’s PILLORY, a performance/video/installation hybrid.

Submit your 30 seconds maximum video before April 1st for a chance to have it featured in the installation, which launches April 27th at the 2012 Hyères Fashion + Photo Festival,  next exhibits by  Yohji Yamamoto, Jasons Evans, and Inez van Laamswerde + Vinoodh Matadin.

The Stimuleye contest for Hyères 2012

Imagine what lies beyond the wall of the PILLORY installation.

All submitted videos must be
no more than 30 seconds long,
from one angle/point of view,
and submitted before April 1st, 2012.

Fore more info and video guidelines: contest@thestimuleye.com


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ariane labed

February 9th, 2012

She’s French, but she acts in Greek.
ATTENBERG was her first film, but it won her a Lion at Venice in 2010 for Best Actress,
and the admiration of Quentin Tarantino and Sofia Coppola.
She loved the shooting, but hated the fame which followed.

Introducing Ariane Labed in
ARIANE
an exclusive film by Justin Anderson,
in collaboration with THE STIMULEYE and Giorgio Armani,
and original pictures by René Habermacher.

 ARIANE, directed by Justin Anderson. Clothes - Giorgio Armani. Furniture - Armani Casa. Commissioned by THE STIMULEYE. 

Antoine Asseraf : Bonjour!

Ariane Labed:  Bonjour!

Are you currently in London ?

Yes, finally! I was supposed to move to London last September, but I’ve been moving around nonstop!

Do you often go back to Greece ?

I was in Greece in November to play with my troup VASISTAS, but now I’m more between Paris and London.

When did you first come to Greece, and what was your impression of the country at the time ?

I arrived in Greece 3 years ago, for a 9-month project of my troup with the National Theater of Athens, to put on a Faust.
I was born in Greece, lived there until I was 6, and I think I left part of my childhood there.

I dreamt of returning. When I met Argyro Chioti in college, a Greek theater director with whom we created the troup VASISTAS, I jumped onto the opportunity of going.

So instead of 9 months, I stayed for 3 years, meeting Athina [Rachel Tsangari] and Yorgos [Lanthimos] had something to do with hit.  Beyond a purely sentimental attachment to this country, I was impressed by all the artists I met and their urgent need to create. Without expectations of getting anything in return, beyond any judgement to which they could be subjected, beyond thinking about breaking even.

If I have just left, it’s only because I need to live in a country where I feel foreign, where I lose myself in the streets. That’s what I’m doing in London. The day where I won’t lose myself anymore, I will leave again.

But I will always return to Greece.

Ariane Labed by René Habermacher

 Ariane Labed by René Habermacher.

The films of Yorgos Lanthimos and Athina Rachel Tsangari in which you starred have universal resonance, but we can nevertheless imagine that they come in a context, in reaction to precise things happening in Greek society: the influence of the Orthodox church (the impossibility of cremation), the need to break the myth of Greece as a postcard-perfect location (the desolate landscapes of Attenberg)…

As you said yourself the Greek audience doesn’t really support these films, and when reading the article in THE GUARDIAN regarding New Greek Cinema I found the comments left by the Greeks to be very virulent – do you think the films play a role in questioning Greek society ?

If Greeks have a difficulties situating themselves in films such as Dogtooth or Attenberg, it may be because they carry a truth about their country which hurts.

This young generation carries with them the failure of the previous generation, a generation who thought they offering through a notion of “progress”, and after the military dictatorship, a better life, without taking into account the contradictions of orthodox culture and the desire for revenge after several centuries of hardship when the Greek people were a strange gate to the East.

Being French, I love all these contradictions about Greece, but that is also where the complexity lies, and these are facets which the new generation denies or which the previous cannot accept.

What I also love in Greece is that it’s non-colonial, as luckily they could never afford to be colonial, but it is painful to see and hear the Greek racism against the recent wave of immigration. I think the Greeks are overwhelmed by a lot of things today, and it’s evidently linked to the government which “enjoyed” European aid for decades, including the Olympics of 2004.

Though all this is probably only the beginning of what is slowly happening all over Europe.

ATTENBERG by Rachel Athina Tsangari - Trailer. Best Actress award at 2010 Venice International festival.

The beautiful thing about this chaos is that, these artists, without means, who expect nothing from the government, find the strength to meet and trust each other enought to creat together.  That’s the case for HAOS, the production company created by Athina, which led to collaborations with Yorgos Lanthimos on DOGTOOTH and ALPS, and EMBROS, a new squat which just opened and brings together theater, danse, performance, critiques, writers, etc… Greek artists have never collaborated as much as they do today.

Of course the films of Athina [Rachel Tsangrai] and Yorgos [Lanthimos] carry and will continue to be denounced by a society which closes its eyes, much like other Western socities. That may be why they are recognized abroad but considered “weird” and barely tolerated in their home country.  The taboos touched upon in Attenberg – death, cremation, incestuous desire, lesbian sexuality, are topics on which one can hardly have a dialog in Greece.

But it is difficult for me to criticize Greece… Beyond the corruption of the government and the misery into which it has dragged the people, which I can intellectually denounce, there remains for me an unspeakable element, a vibration I feel only there. A chaos which I find appeasing.

Ariane Labed by René Habermacher

 Ariane Labed by René Habermacher.

How did you live this experience of the “fashion film”, between actress and model, with Justin Anderson ?

I was quite reticent at first… but once I met Justin [Anderson] and he told me the concept, with the slow motion, I became quite excited. In the end it was a beautiful experience.

What are your current projects ? Can you tell me about your play with VASISTAS ?

The big news is that I’m about to shoot a film in France. The first film in my native tongue !

It took quite a while for people to figure out I’m French. My first 2 films, ATTENBERG and ALPS, are both in Greek, so everyone thought I was Greek. It doesn’t bother me at all, but really it’s quite a different exercise to play in a foreign tongue.

Congratulations. Are the plays with VASISTAS also in Greek ?

I’ve worked with my troup for 5 years now. We are 3 women: 1 Greek, 1 Mexican and myself. We met in college at Aix-en-Provence and created a troup. We work in different languages, centering on the body, on the impossibility of communicating with words. We don’t work from existing plays but rather from an editing of texts ranging from Deleuze to advertising… I play in French most of the time, but the text is there to relate to meaninglessness… My work is rather physical.

So it’s your own creations ?

Yes. The last show was called  “spectacle” ["show"]. www.vas.eu.com

This impossibility to communicate is also an important theme in Attenberg, your character is very physical but has difficulties communicating with others —did your theater experience push the role in this direction or was it already thought out this way ?

The writing of Attenberg didn’t change much…but it wasn’t written for a foreigner, so maybe inadvertently we pushed this Marina towards another manner of communicating. Certainly, with Athina we didn’t want to approach the character psychologically. There’s always a great deal of physicality in my approach.

Ariane Labed by René Habermacher

 Ariane Labed by René Habermacher.

Where does this physicality come from, is it because you’ve practiced ballet, or did you practice ballet because it was in you ?

I did 10 years of classical ballet. I stopped when I was 16 because I could no longer stand the way the body was dealt with. It’s a strange contradiction, I was and remain persuaded that ballet is a sublime and fair form of expression, but I can’t deal with the instrumentalised body.  In ALPS, I play the role of a competitive gymnast, it was a superb challenge to have to return to this physical condition, and yet a real nightmare !

So you keep this tension within you, between the habits of ballet, the need to express yourself physically, and the rejection of the classical dance system….

Yes, something like that.

When we spoke for the first time by email over a year ago, I wasn’t aware that you were at the time going through a “reaction”.

Reaction?

Reaction, or crisis, ou questioning ?

Was it the reaction to cinema ? to the success of Attenberg ? or to the rigors of a gymnast’s discipline ?

Yes, it was shortly after my award in Venice… I was lost.  I did not know how to deal with anything — I didn’t expect and wasn’t prepared for such a level of display. I locked myself into work (the preparation of the role in ALPS) and fled the journalists. It took me a long time to realise that it could be a gift in my life.

That’s when I decided to get an agent in Paris to continue film-making.  When I made Attenberg, I didn’t think I had a place on a screen. I’d loved the shooting, but I couldn’t picture myself fitting in.  This award led me to hope I could continue, and now I only dream of shooting again.

Before Attenberg, was there something you found repulsive in cinema, or was it an attachment to the physicality of theater ?

I didn’t think you could find the intensity you have in front of the public. That moment when you lose the notion of time.

And paradoxically what troubled you after Attenberg was the intensity of the public scrutiny !

Being exposed in a work of art has nothing to do with being exposed as yourself holding a world cup trophy.

I can be naked, raw, give myself completely for a scene or a film, but to expose myself as Ariane Labed in the press is something I find completely uninteresting.

ALPS by Yorgos Lanthimos - trailer. Best Screenplay at 2011 Venice International festival.

So it’s rather the status of the “star” that troubles you rather than shooting itself ?

Shooting is sublime. But I’m not sure of what the actress’ status is. I don’t think there’s a rule. It’s a crazy job, and I hope you can go about it your own way. At least that’s what I’m trying to do.

You returned to Venice for ALPS, which won the prize for Best Scenario, how was it this time ?

It was a holiday ! I took a lot of pleasure, and I was very happy for Yorgos Lanthimos and Efthimis Filipou [the writers].

Let’s quickly talk about ALPS – when does the film come out ?

In France I’m not sure, but in the UK in the Spring.

How was this second film for you ?

I was afraid. After the success of Attenberg, I put a lot of pressure on myself… I was telling myself again that maybe Tarantino was wrong, maybe I shouldn’t be on screens anymore….but it helped me to work even more.  It was a small role in ALPS, but which required 3 months of intense preparation, so I tried to make the most of shooting days and give my best. It was a very different experience.  Yorgos doesn’t work like Athina at all, he leaves the actors with a lot of doubt, and captures everything that slips through.


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coming soon : monsieur chypre

February 7th, 2012

an erotic fashion epic, one year in the making….

THE STIMULEYE presents MONSIEUR CHYPRE a short film with EROTOKRITOS with Vogue Italia

MONSIEUR CHYPRE
A SHORT FILM WITH EROTOKRITOS
by Antoine Asseraf Asseraf & René Habermacher
with VOGUE ITALIA


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CHIARA SKURA, watch and party !

September 29th, 2011

The Stimuleye is proud to announce the release of the latest film of the Vogue.it – A Short Film With series, CHIARA SKURA, a collaboration with Marios Schwab featuring his hot Spring Summer 2012 collection.

Watch it here.

Chiara Skura - A short film with Marios Schwab

Come celebrate the release of CHIARA SKURA with Marios Schwab and friends,
Friday October 30th, 10pm – 2am
at Le Pompon,
39 rue des Petites Écuries, 75010 Paris
Metro: Bonne Nouvelle
Password: CHIARA

invitation

FILM CREDITS:

Read the rest of this entry »


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coming soon – CHIARA SKURA

September 19th, 2011

Hot on the heels of Marios Schwab’s breakthrough SS12 collection “chiaroscuro”, The Stimuleye is proud to announce “CHIARA SKURA – A Short Film With Marios Schwab” for Vogue Italia, coming September 28th…

Chiara Skura - A Short Film with Marios Schwab

Directed by Antoine Asseraf & René Habermacher
Starring Amy Bailey

Marios Schwab
Style.com show pictures and review
Vogue.it – A Short Film With


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not lost : ræve

September 5th, 2011

Once upon a time, we made a fashion film shoot with some of the best men’s designs around.

Givenchy, Raf Simons, Ann Demeulemeester, Rick Owens, Gareth Pugh, Comme des Garçons…we had it all. We also had a great concept (think butoh meets inception), a fantastic cast (Ippei is an amazing butoh performer, while Matvey and Willy, both top men’s models, would film Woodkid’s IRON video a few days later), great hair and great make-up, everything great.

RAEVE stroke-inducing poster by Clément Roncier.

Only problem was, we never really found the time to edit it.

Until now.

So without further ado, ræve.

RAEVE
by Antoine Asseraf & René Habermacher

starring Ippei Hosuka + Willy Cartier @ Success Paris + Matvey Lykov@ Success Paris

styling Jean-Luc Française / photo assistant Laurent Dubain / styling assistant Tiphaine Menon / hair Tanya Koch @ B Agency /make-up Akiko Sakamoto / studio Le Petit Oiseau Va Sortir

editing Axelle Zecevic / Clément Roncier / postproduction Clément Roncier / music Oedo Sukeroku “Shunrai” + John Cage “Sonata V” / special thanks Jean-Marc Locatelli

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