Plogoff, des pierres contre des fusils Ciné-concert MONOLITHE NOIR
Plogoff, February 1980. An entire population refuses the installation of a nuclear power plant close to Pointe du Raz, in Brittany. Six weeks of daily struggles led by women, children, fishermen, peasants. Six weeks of drama and joy, violence and tenderness: the testimony of a struggle that has become historic.
Restored in 2019 with the support of the CNC, the Regional Council of Brittany, the Cinémathèque de Bretagne and Ciaofilm, selected at Cannes Classics (Cannes Film Festival), “Plogoff, stones against guns” is a documentary film poignant that resonates with our troubled times, 40 years later.
“Plogoff…” according to Monolithe Noir
The film “Plogoff, stones against guns” touched me for many reasons: the quality of the images, the sound recording, the reserve as much as the empathy that one feels in the production, the relationship to local people. The film moved me, gave me chills, made me laugh and quite revolted. I still find it current with regard to the issues that are developed there: commitment, police violence, the omnipotence of a strong central French state that does not care about the future of populations and the preservation of their living environment, their short lives; the feminist aspect too, touched upon but still present, because women are strongly present in the film. It is also part of the maintenance of a necessary link with Finistère where I come from, it is a testimony of a speaking still tinged with the Breton language in which I am very interested.
“Plogoff…” is for me human, current and multi-faceted, hence its richness. “The cine-concert was a necessary project for me for two reasons: I wanted to set a long-format film to music without having had the opportunity so far. I said to myself that it was necessary to create this opportunity and to try new things musically speaking. I was very inspired by the work of Mica Levi in “Under the skin” or Jonny Greenwood in “The Master” or “Music for the body” but also “Maison Rose” by Emmanuelle Parrenin.
I wanted to have a more acoustic approach than before and for that I made a hurdy-gurdy, a model far from luthier models but a hurdy-gurdy all the same. This instrument allowed me to create the junction with the synthesizers that I have been using for a few years now.
It seemed to me that to blend into “Plogoff…” I had to adapt my words while keeping the more or less defined identity of Monolithe Noir safe. I tried to combine experimental, dissonant, sometimes purely percussive elements with ideas gleaned from traditional music of Celtic origin, in particular through the recurring use of the drone.
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