Initially, our focus was on self-destruction, but over time in our work the body became something more linked to desire, to the erotic. Because, since the beginning, there has been a link between eroticism and violence. As we moved away from animation and started to work at 24 frames per second, we saw that actors were much more focused on an intellectual than a physical approach to their work β they were rooted in their mind, not their body.
Our shorts were basically silent, so it was really strange for actors β they had no lines to say, so everything had to be expressed through their bodies. The choreography of the body has always been very important in our work, so for our fourth short film we decided to work with not an actor but a modern dancer.
We liked the experience of working with her, because she was very precise and we could really work on choreography of the film. Because it was their job. When we met these people, we talked with them not about pornography, but instead about real cinema. We talked about storyboarding, editing, sound β¦ and revolution! This is why we first thought of them as people who might portray those characters: it was a way to recognize their work, and their revolutionary legacy.
Their shorts as co-directors include Chambre jaune , La fin de notre amour and Santos Palace
