Vaisseau
The world of a human soul vessel
Directed by Jean-Luc Oicle
Crafted by the visionary Jean-Luc Oicle, director and Franco-Albertan writer, Vaisseau captures a mesmerising one-take dance sequence, delving deep into the essence of human emotion. This hypnotic short unveils the tumultuous journey of a human soul vessel possessed by emotion. Each fleeting state of agitation, resistance, and surrender is intricately conveyed through the dynamic interplay between camera and character.
The soul vessel's ultimate release transports it to alternate planes of existence, inviting viewers to reflect on their own emotional landscapes.
Vaisseau beautifully captures the all-consuming nature of emotions through its visual narrative. Can you elaborate on some of the cinematographic techniques used to enhance this expression, especially in terms of the digital shooting format and the impact of lens flares?
It was important that the camera employ a subjective and participatory tone for Vaisseau - in the way that it observes the dance with its own intuition and curiosity. The lens flares are an added hint of the surreal and mythical tone of the piece, lending themselves to the unpredictable nature of life.
It doesn’t look like it, but we shot in the middle of November in rural Quebec, so it was freezing cold, windy, the ground was wet and slippery, so we needed a camera system that was robust and dependable. By shooting in digital format, we were able to shoot in harsh environmental settings and were free to shoot as much footage as we wanted.
What was it like working with Elon Höglund to create the visceral choreography throughout the film? How did his movements help convey the complex and raw internal states of being that you express both freely and authentically?
Elon is a master of movement. His intuition, his connection to his body, and his extensive dance choreography experience allowed him to build upon my vision for the emotional progression of the dance. He was able to take the story I had written for the film, along with a musical reference and shape this visceral dance sequence in a short amount of time. Then, working closely with him, we spent time rehearsing the dance in a studio setting, establishing clear emotional and story beats, and choreographing the camera’s movement around him as well. His trust and his dedication to the project was paramount, and I am eternally grateful for the opportunity to collaborate with such a talented and established artist as himself.
The film appears to be structured in three stages, ending with a blackout while the music continues to play out. What was your intention behind this structure and how do you believe it affects the emotional journey of your audience?
The intention behind this three act structure was to move through varying planes of awareness, progressively shifting the level of emotion and sensory stimulation. Given the intensity of the dance sequence, I wanted to then bring the audience into a period of integration, in which the emotions experienced could be reflected upon and felt more deeply. In a world that is constantly grabbing our attention and berating us with overstimulation, we rarely take an opportunity to slow down, to settle into ourselves and feel. I think this gives the audience an opportunity to land after the dance, to look within, and to relate to the story as they relate to themselves.
“In a world that is constantly grabbing our attention and berating us with overstimulation, we rarely take an opportunity to slow down, to settle into ourselves and feel.”
The sudden switch in pace - focusing away from the individual’s emotional state and more on the surrounding nature - creates a breathable space for introspection. Can you talk us through your photographic decisions to effectively create a shift in atmosphere?
I wanted to contrast the dance, which is shot in continuous and handheld, with imagery that felt more abstract, posed, and textural. The intention was to slowly reduce the level of visual stimulation, going into darker scenes, shot in slow motion, giving the overall visual tone a muted and fluid like feel. By shifting the photographic perspective to a more microscopic, detail oriented depiction of the environment surrounding the dancer, we connect to the surroundings, and are grounded in the natural spaces. Leaning into a meditative application of the craft, the photographic awareness rests upon the coming and going of the natural phenomena, and the way it’s edited gives space and time to feel into this more deeply.
The sound design plays a crucial role in guiding the film's direction through a series of emotional states. What was it like working with Simon Blitzer and how did you ensure the sound blended seamlessly with the movement and expression throughout the film?
Working with Simon is an absolute pleasure and is always a wildly collaborative process. Simon is a dear friend of mine, and has been a regular collaborator on my various film projects over the years. Similarly as to my approach with Elon, I gave Simon a written story and musical references to give him the context and structure of my vision. Then, he applies his expertise in crafting the soundscape and musical elements he feels fit the imagery best, and then we spent multiple sessions finessing the thing until it felt right. The sound design and score was a massive challenge on this project, but Simon’s dedication to the project and his intuition as a musician proved to be paramount.
You mentioned that this project serves as a visual meditation, ideated during the pandemic. What inspired you to take this approach, and how do you hope viewers will continue to connect with the meditative aspects of the film today?
Meditation is a massive part of my life, and has been a crucial tool in helping me move through life’s challenges with more ease. During the pandemic, myself and so many others faced a wide range of difficult emotions - and I leaned heavily upon my meditative practice to soothe me, and to learn to accept things as they are. During that time I also began a meditation community, which gathers every week to practice together in my home, and in which I offer guided meditations as a means to support others. I think it’s important to consider the impact we have on the lives of others, our interdependence is unarguable, and as a filmmaker this extends onto the films I create and share with the world. I hope to continue making films that bring this sense of meditation and presence to audiences, which can be polarizing, but can also lead us to look deeper within ourselves.
Jean-Luc Oicle Director
Jean-Luc Oicle Writer
Zion Lipstein-Saffer Producer
Elon Höglund Key Cast "Dancer"
Elon Höglund Choreographer
Vincent Masse Director of Photography
Samuel Wilde 1st AC
Simon Blitzer Sound Design
Thomas D’Auteuil Colour Grade
Rachel Holloway Costume Design