Claudio Pazienza - Scènes de chasse au sanglier aka scenes from a wild boar hunt (2007)

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a wild boar hunt, a taxidermist’s skill and a faithful reproduction of etienne-Jules marey’s chronophotographic gun are the premises for an intimate voyage. as a ‘hunt’ for the meaning of the word ‘reality’ turns into a meditation on the death of a loved one, an interior voice questions images far off and close and the confusion felt when faced with images. Claudio Pazienza’s Scenes from a wild boar hunt is not an exercise in nostalgia, but an unplanned incursion into a universe where all things untangle themselves.

Director's statement
To begin with, a desire to scrutinize one word, one concept: reality. what exactly do we mean by this? why is there this fourishing market around a word? why this obsession in the field of art in general and, more particularly, in the genre of cinema that we name, so summarily, documentary. is it not there, in the documentary, that it claims to have reached its highest summit? is it not there that the concept is waning, in an almost tangible way?

To begin with, in a personal and ironic way, the desire to scrutinize a concept which philosophers and psychoanalysts have been examining and dissecting for years, but which remains, to me, elusive, complex, strange. a place to loose oneself in. to go 'hunting', then, without knowing what image will appear from this experience, and not just 'put into images' a philosophical shorthand of the concept. No: to go wild boar hunting, and perhaps come across something completely different. would it not be a way of 'telling' reality, or its very impossibility?

To begin with, I wanted my father to speak with me about death, his future death. Nothing morbid, but a way of embodying the matter through this father-son connection. I imagined elements of the production where my father would accept 'playing dead'.

To begin with, nothing too strange. to walk through the concept as one does a forest, with the same candour and the same surprise. rethinking the tool which i had always used to grasp reality: the cinema. reconsidering Etienne-Jules Marey's chronophotographic rifle - to go out 'hunting' reality - film death at work. to contemplate this concept through the words of my father and through the 'game', the production.
Then - ironically - my father really died. to say really' is to make of reality that which is unspeakable; that reality suddenly appeared where i had not expected it to. Filming death at work then became a process of mourning. Filming reality became a way to film loss.

Claudio Pazienza was born in roccascalegna, italy in 1962 and moved to Belgian limbourg a year later. he received a degree in ethnology at the Belgian Université libre in 1985. during his studies, he participated in amateur theatre and organised cinema retrospectives. he later directed documentaries for arte and produced several theme nights. in November 2003, the Centre Pompidou BPi held a retrospective of his works. he teaches on the history of cinema and is a regular guest lecturer at several cinema schools where he gives writing workshops.