Few aesthetic practices bring us as close to the experience of travelling as drifting through film stories during the hundred years of the cinema (à la Godard). Leaving one film to enter another, we are thus submerged in that fast flow of time and space constructed for our eyes: even though this drift inevitably nowadays includes rejecting the luminous transparency characteristic of the celluloid film and depends on a rather dull reproduction that is the result of the proliferation of the digital video disc.
