Synopsis
A wounded moose escapes its hunters, later dying deep in the forest and becoming… a communal feast. As the seasons go by, mammals, birds and insects invite themselves to the banquet – multiplying ensuing games, rituals and conflicts. In exploring and occasionally foiling nature’s wildlife codes, our story becomes a simple yet poignant reflection on death, on its natural place in this world and, by extension, on its deeper meaning and purpose – important lessons to explore at this time when the glorious paradises offered by religions tend to feel less and less credible.
A word from Tënk
Robert Morin is convinced that he has no auteur signature and no concept of what nature is. He also claims not to like cinema. And yet, it is precisely his idea of nature that he offers us in his two most recent films, 7 paysages (2022) and Wild Feast (2023), which are said to be the first two parts of a trilogy of “contemplative thrillers.” The first manages to tell a story through a series of static shots of the flora and fauna surrounding the filmmaker’s country house in Montcerf. The second follows the slow decay of a moose carcass deep in the forest.
“What cinema does is much more than recording time and movement. It records metamorphoses. In fact, from this perspective, as soon as time and movement are involved, you inevitably record decay. […] Cinema is an art of decay and visual metamorphosis. […] That’s why I believe my first two real films are 7 paysages and Wild Feast.”
Ralph Elawani
Writer, journalist, and publisher
Excerpt from “L’intention du paysage”, an interview between Ralph Elawani and Robert Morin
published in the Spirale magazine dossier Regards naturalistes : voir en haute définition
