The film Été perpétuel [Everlasting Summer] has its roots in The Glass Bead Game by Hermann Hesse. The 1943 novel, which helped earn Hesse the Nobel Prize in 1946, presents exchanges surrounding a game with mysterious rules. Designer Benjamin Graindorge gives them form and life with the support of Lafayette Anticipations - Fondation d'entreprise Galeries Lafayette, so that they can receive rich and complete expression in the screenplay written by Romain Kronenberg.
The 40-year-old main character Jeanne has to manipulate games to bring the memory of a deceased lover to life. These glass and wood objects created by Benjamin Graindorge neither principal nor accessory, they are potential forms whose reason for being is found entirely within the processual urgency that haunts their co-creators. Été perpétuel is nothing but a point in the unknown, which they probe until it gives rise to new avenues of research. Territory and its vocabulary are always linked in the joint work of this designer and this director as they explore an incantatory logic that starts as a wandering and becomes a round-trip approach that follows the longest paths. Graindorge and Kronenberg are the authors not of works but of projects, which obviously find their meaning in their reciprocal culture of design and projection. Their quest for an everlasting day unfolds in a non-place where art and ideas occur openheartedly so that the wound never has the chance to close. By rejecting the status quo concerning the finished nature of creative work, they alienate themselves. They deliver themselves from delivering the least certainty beyond the one that it’s better to change your desires than to change the world order. A film with Audrey Bonnet, Lucie Boujenah and Mehdi Meskar. Production Too Many Cowboys and Lafayette Anticipations - Fondation d'entreprise Galeries Lafayette, with the support of Centre d’Art Villa Bernasconi / Ville de Lancy-Genève.