{"id":7255,"date":"2024-09-30T18:52:17","date_gmt":"2024-09-30T23:52:17","guid":{"rendered":"https:\/\/www.amvfilmsproduction.com\/?page_id=7255"},"modified":"2025-04-25T15:48:47","modified_gmt":"2025-04-25T20:48:47","slug":"alice-in-memoryland","status":"publish","type":"page","link":"https:\/\/www.amvfilmsproduction.com\/en\/alice-in-memoryland\/","title":{"rendered":"Alice in memoryland"},"content":{"rendered":"[vc_row fullwidth=”true”][vc_column][mk_page_title_box page_title=”ALICE IN MEMORYLAND” bg_image=”https:\/\/www.amvfilmsproduction.com\/wp-content\/uploads\/2025\/04\/dort.jpg” bg_position=”right center” bg_repeat=”no-repeat” bg_stretch=”true” overlay=”rgba(10,10,10,0.38)” bg_effects=”parallax” font_size=”40″][mk_padding_divider size=”60″][\/vc_column][\/vc_row][vc_row][vc_column width=”2\/6″][vc_row_inner visibility=”hidden-sm”][vc_column_inner][mk_padding_divider][vc_single_image image=”7421″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”6292″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7324″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7335″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7337″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7339″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7333″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7331″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”7329″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][vc_single_image image=”6564″ img_size=”full” onclick=”link_image” el_class=”centerphone”][mk_padding_divider size=”55″][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”4\/6″][mk_padding_divider][vc_column_text css=”.vc_custom_1744619544010{margin-bottom: 0px !important;}”]\n

ALICE IN MEMORYLAND<\/strong><\/p>\n

. Fiction, 77 minutes<\/p>\n

.Written and directed by Annie Molin Vasseur
\nCollaboration Alisi Telengut<\/p>\n

. In the role of Alice: Lili Vasseur<\/p>\n

. Music Marc Poellhuber
\nVoice Rebecca Ha\u00e9ri<\/p>\n

. Photography: Christian Rivera (Mongolia), Manuel Codina (France), Bruno Desrosiers (Canada)<\/p>\n

. Sound: Anthony Salvo (Mongolia\/France)
\nSandra Lefebvre (Quebec)<\/p>\n

. Editing: Annie Molin Vasseur,
\nPhilippe Vasseur, Pierre Ducrocq and Emmanuelle Boileau<\/p>\n

. Production: Annie Molin Vasseur,
\nProduction Manager Ga\u00eblle Goulet-Bourdon and Margaux Ouimet<\/p>\n

. Post-production direction: Philippe Vasseur
\n. Musical direction and sound design Louis Ha\u00e9ri
\n. Colorization direction Chlo\u00e9 Raimon
\n. Direction distribution Christelle Barrilliet<\/p>\n

 <\/p>\n

(Filming carried out in Mongolia in June 2017, in France in September 2017 and in Canada, in Montreal in July 2021).<\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1744780919967{margin-bottom: 0px !important;}”]PITCH<\/strong><\/p>\n

ALICE, a teenager, asks her grandmother to tell her about events in the life of her mother who disappeared when she was little.[\/vc_column_text][vc_column_text css=”.vc_custom_1744780974236{margin-bottom: 0px !important;}”]SYNOPSIS<\/strong><\/p>\n

Based on family photos, teenage ALICE asks MAMITA, the grandmother who raised her, to recount events in the life of her mother, who disappeared when she was four.<\/p>\n

Little by little, under Mamita’s voice, repressed traces emerge in Alice’s mind, revealing certain forgotten faces and places from her early childhood in Paris, the South of France, Mongolia… The memory of her deceased grandfather, PAPINOU, reading to her in the past, joins that of visits to museums when she was little. Key figures and events from different cultures run through her story. For this young up-and-coming artist, the known and the unknown are intertwined in the complexity of living between dream, imagination and reality. A journey down memory lane on the quest for oneself, one’s origins… and the world beyond oneself.[\/vc_column_text][mk_gallery images=”6295,6427,7122,7124,7120″ column=”5″ height=”150″ orderby=”post__in”][vc_column_text css=”.vc_custom_1745428452090{margin-bottom: 0px !important;}”]PRESS BOOK<\/strong><\/p>\n

Download Press book<\/a>[\/vc_column_text][vc_column_text css=”.vc_custom_1744606338523{margin-bottom: 0px !important;}”]TRAILER<\/strong>[\/vc_column_text][vc_video host=”self_hosted” mp4=”https:\/\/www.amvfilmsproduction.com\/wp-content\/uploads\/2025\/04\/alice-bannonce-va-2025.mp4″][mk_padding_divider][vc_column_text css=”.vc_custom_1744781391586{margin-bottom: 0px !important;}”]DIRECTOR’S NOTE<\/strong><\/p>\n

Alice in Memoryland<\/em>. What memory?<\/p>\n

Surely, a deep memory linked to the protagonists\u2019 genetics and epigenetics, and to collective memory. What sticks to our skin! Alice has forgotten her trauma from when she was four years old, when her mother disappeared, and an even earlier tragedy. What is the premi\u00e8re<\/em> origin? Is this what Alice is searching for? She doesn\u2019t know what le manque \u00e0 savoir<\/em>, this unknown is made of, but it will gradually reveal itself, like a continent immersed in her images: imagination and reality intertwined. Is Time this intertwining of permeable zones where everything that appears is undone and reappears? Or is it a fable erected by conscience, seeking to shed light on the blind spot of all existential anxiety? In my productions, there is un fil rouge<\/em>, a common thread that which overflows la mati\u00e8re<\/em> and questions the transcendence of the image, le hors-champ<\/em>, the off-screen, the black memory emanating from the personal and collective unconscious. For Alice, the quest for the meaning of life is the pivot point.<\/p>\n

So how do we bring this invisible off-screen presence to the screen? Some cinematographic processes are used to capture the ghostly<\/em> reality of the image in the emergence of memory traces. The film’s slow pace underscores the long process of integration into consciousness. The repetition of images belongs to the same unveiling, they appear, disappear and return to visit Alice’s questions. Superimposed shots<\/em> reveal the overlap between deep memory and recollection. Then, the large number of cultural references in the film, if we want \u201cthe full\u201d of the form, signals the incessant occupation of images in our heads, which Alice tries to clarify. This fullness (childhood, museums, and countries crossed) reflects the density of memory. The film’s narration constantly returns to the incessant merry-go-round of the mind between advances and retreat of the traces which shape her thinking. The voice-overs play a major role in the soundtrack, evoking memories such as the grandfather’s readings. In addition, wide shots replace the usual champs\/contrechamps<\/em>: the voices are heard when the faces have disappeared. Finally, the editing of the film reinforces the telescoping of images, places and periods, suggesting the upheaval of l\u2019esprit du temps<\/em>, its multiplicity of points of view. The film goes beyond realism and moves away from a chronological narrative.<\/p>\n

Alice in Memoryland<\/em> has little to do with Alice in Wonderland<\/em>, other than to share a poetic universe and a journey through memory. The filmic poem, this plunge into Alice’s consciousness in the throes of adolescence, is a call from being. Poetry is the powerful impetus of an inner world. There is no contradiction here between rational and irrational.<\/p>\n

For me, making a film is not about judging or endorsing one’s era, but about looking at and questioning the complexity of one’s time through our sensibility, our reminiscences and our collective consciousness. All that remains is to grasp the form. Has cinema sufficiently dominated technique to decode it and allow itself to return to what was denied to it at its origins: the link to painting, theater and literature… une po\u00e9tique premi\u00e8re<\/em>, a primary poetics?<\/p>\n

I believe that Alice in Memoryland<\/em> modestly questions our memory at large, this marker of our knowledge and destruction, but also of our potential for development. Will humanity, like Alice, have to move beyond its tumultuous and angry adolescence to become less destructive and more creative? The film poses questions but doesn’t pretend to have any didactic answers. Like a little snail’s slime poetically lodged in Alice’s head, it moves slowly forward, like our species, questioning the limitations of our existence in the face of the inexorable presence of vital forces within us, including those of memory.<\/p>\n

Thanks to the production and post-production team whose names appear in the credits, and to all those we met in Mongolia, France and Canada who took part in the film. Their presence marks the film. I’d particularly like to thank Alisi Telengut, because it was thanks to her invitation to go to Mongolia that the whole team made the trip. And with great emotion, I’d like to thank Philippe Vasseur and Lili Vasseur. Before I knew it, this film had become a family saga, even though the events presented are purely imaginary. I dedicate this film to my two children: Martine and Philippe.<\/p>\n

Annie Molin Vasseur<\/p>\n[\/vc_column_text][vc_column_text css=”.vc_custom_1745005798275{margin-bottom: 0px !important;}”]A reading by GUY MAGEN:<\/strong><\/p>\n

\n

Le film d\u2019Annie Molin Vasseur est un film dans la grande tradition de l\u2019\u00e2ge d\u2019or du cin\u00e9ma fran\u00e7ais avec Alain Resnais et Chris Marker en particulier, o\u00f9 la m\u00e9moire, le th\u00e8me de la m\u00e9moire, la trame de la m\u00e9moire\u2026 o\u00f9 le tissu de la m\u00e9moire en fin de compte suffit \u00e0 constituer \u00e0 lui seul un sc\u00e9nario de bout en bout. D\u2019o\u00f9 le titre Alice au pays de la m\u00e9moire. En l\u2019absence de souvenirs pr\u00e9cis, priv\u00e9s du \u00ab vierge, du vivace et du bel aujourd\u2019hui de l\u2019enfance \u00bb, seul le cin\u00e9ma pouvait rendre compte de cette existence \u00e9mouss\u00e9e de son pass\u00e9. [\u2026] La m\u00e9moire repr\u00e9sent\u00e9e par l\u2019eau est faite chez quiconque d\u2019une double vasque. La premi\u00e8re pour recueillir ce qui doit \u00eatre conserv\u00e9, la seconde pour pouvoir renouveler ce qu\u2019une vie laisse par m\u00e9garde \u00e9chapper du temps. L\u2019eau est la vie et la vie est m\u00e9moire. Nous l\u2019avions oubli\u00e9.<\/p>\n

Chez Alice domine le sentiment que le sable du temps, en d\u00e9pit du flux et reflux en elle de ce qui fut son pass\u00e9, a trop absorb\u00e9 [\u2026] Sa m\u00e8re se dissipe de dos dans le lointain, ainsi que dans les contes de Perrault ou de Lewis Carroll. [\u2026]\n

Alice \u00e0 la vitre dessine une hyperbole o\u00f9 les \u00eatres les plus proches ne se rencontrent vraiment qu\u2019\u00e0 l\u2019infini. L\u2019Homme r\u00e9duit et sch\u00e9matise son monde pour le comprendre et mieux le saisir. C\u2019est l\u2019avertissement de Kafka : nous croyons pi\u00e9ger le monde et c\u2019est lui qui nous pi\u00e8ge. [\u2026] Le r\u00e9el, o\u00f9 l\u2019absence de souvenir fait une ouate, n\u2019appara\u00eet que dans toute sa brutalit\u00e9 : violence de l\u2019esquisse, sursaut de l\u2019\u00e9vitement, salut de la l\u00e9vitation*, comme chez Sartre, \u00e9chec ou r\u00e9ussite ou comme chez Lacan, obstacle ou rempart. Alice devra choisir de l\u00e9viter, c\u2019est l\u2019espoir que la r\u00e9alisatrice lui apporte [\u2026] comme pour ces jeunes filles qui, loin d\u2019\u00eatre pr\u00e9cipit\u00e9es, s\u2019envolent sur la balan\u00e7oire.<\/p>\n<\/blockquote>\n

Excerpts from “5 minutes pour comprendre,” by Guy Magen, film semiologist.
\n*References, among others, to la course landaise<\/em>.[\/vc_column_text][vc_column_text css=”.vc_custom_1745614122986{margin-bottom: 0px !important;}”]PRODUCER<\/strong><\/p>\n

\"\"Annie Molin Vasseur, born in France, emigrated to Canada in 1981. Coming from a theater background (actress at the Living Theatre in New York<\/em>), she became active in the visual arts community in Quebec. In the 1980s and 1990s, she founded the art gallery Aubes 3935<\/em> and co-founded the Association of Contemporary Art Galleries of Montreal<\/em>, and the magazine Etc Montr\u00e9al<\/em>. A 2006 graduate of the INIS<\/em> Film School, she became a director and producer. Among the films she has directed are two feature-length fiction films: The Voice of the Shadow<\/em> (2013), and Alice in Memoryland<\/em> (currently being distributed). In 2023, she founded the publishing house AMV \u00e9dition<\/em>.<\/p>\n

She has published approximately ten books and numerous articles. She has served on the editorial boards of Arcade<\/em> magazine and Femmes de parole<\/em> magazine. Her latest book of poetry, Le requiem des mots<\/em>, was published in 2024 by \u00c9crits des Forges<\/em> in Montreal. She also pursues her career as an editor, writer, and filmmaker.<\/p>\n

Download resume<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”10″][mk_padding_divider size=”0″][vc_separator border_width=”2″][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row visibility=”hidden-sm”][vc_column][mk_gallery images=”6296,6433,6435,6437,6439″ column=”5″ height=”151″ hover_scenarios=”none”][\/vc_column][\/vc_row][vc_row][vc_column][mk_gallery images=”6296,6433,6435,6437,6439,7421,6293,7324,7335,7337,7339,7333,7331,7329,6564″ column=”5″ height=”151″ hover_scenarios=”none” orderby=”post__in” visibility=”visible-sm”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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