We watch the final report by Will Roczinski, who sadly died in a car crash while working on a TV documentary about UFOs and the like. A fascinating early “faux footage” film from the BRD. One can only wonder how the average West German processed the fantastic premise.

“I had imagined this journey as a quest. I finished my studies in math. I wanted to live. I wanted to burn all the bridges, all the formulas, and if I got burned, that was okay, too. I wanted to be warm. I wanted the sun and I went after it.”

– Stefan

“The pickings were poor and not worth the risk.”

– Michel

A skyscraper for Skyscraper Day (USA)

 

In the sequel to Rouch's Jaguar (1967), Damouré wants a high rise for his Niger business with “as many floors as he has wives”. He decides to travel to Paris to learn about the construction of such building, and what made Paris to the Paris of today. While there, he gets distracted by the peculiarities of the French natives. Worried about Damouré's increasingly puzzling postcards, his company sends out Lam (Lam Ibrahim Dia) to bring him home.

[A favourite] colour: grey*

 

Approaching the 60s, Mr Hulot finally switches from black-and-white to colour. Suddenly, we see that his suit is a beigeish grey and so is the Arpels' house, that modernist masterpiece designed by Tati. The beloved luddite struggles with hypermodern people and their hypermodern constructs, much alike the future Hulot from Playtime (1967).

– A house like yours must be such a job! – Oh, a leaf! Ah, yes it's a chore. – Admit it, you love it.

In similar absurd fashion, Guadalupe Acedo, cleaning lady, works her way through Rem Koolhaas' Maison à Bordeaux (1998) in Bêka and Lemoine's Koolhaas Houselife (2008). Too steep are the stairs, too leaky everything else. Levelheaded, she does her thing; a small beacon of romantic practicality in a world of absurd efficiency.

 

* the Bales 2025 Film Challenge for August is not date-related but lists, for the most part, the colours of the rainbow.