‘Cinq colonnes à la Une’, ORTF (French TV, 1962) a father and son interviewed in front of their farm on the Causse de Sauveterre (south of France) face the camera, the first admits that it is rare to eat meat, the second explains that he will have to leave to work in the Renault factories (cars) .

I saw and lived near all these farms abandoned at the end of the twentieth century, the Lozère department had been emptied throughout an endless rural exodus, littered with Christian symbols, the territory was once marked by bloody religious struggles. In 1992 I worked as a scrap metal worker on the construction of the A75 motorway, which was to open up this rural and mountainous region, the poorest in France.

Hunger for these men and women who have to leave to feed themselves, before the exodus continues indefinitely. An anti-road movie in the sense of the tragedy of displacement and uprooting, a character crushed by modernity that lets its archaisms resurface. Hunger, an earthquake, is expressed through the body embodied by a character struggling with all kinds of violence and adversity.
Hunger is a kind of invitation to a journey, a kind of initiation, in the sense of the rituals revealed to us by ethnologists and anthropologists. We embark on a journey, or more accurately a voyage, into sensation, into a multidisciplinary form in which dance, light, moving objects and music interact.