In 2013, I’m going to explore Northern Europe from Stockholm to Oslo to the Norwegian fjords. I come back marked by a feeling of excessiveness and destabilization linked to the landscapes I have crossed. I decide the following year to cross Finland to the end of the railway line in order to symbolically reach the polar circle. I then plan to meet the Sámi, the first Siberian shamanic people, who have a completely different relationship to the land and to life than in our western cultures.
The film is therefore the story of a journey that begins on board a boat, and which is both physical and symbolic. It involves a return to oneself after having made a journey, an encounter, a journey from one point to another. It is moreover constructed in the form of a temporal loop and evokes in its very structure a return to oneself, a cycle, a reversibility.
The presence of the boat is so meaningful because it refers to dreams and myths in the same way as water, the element of dream par excellence: “It is near the water that I have best understood that daydreaming is a universe in emanation, an odorous breath that comes out of things through a dreamer. Gaston Bachelard, water and dreams, 1942.