{"id":1979,"date":"2020-09-03T21:20:17","date_gmt":"2020-09-03T19:20:17","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=1979"},"modified":"2022-02-24T13:31:00","modified_gmt":"2022-02-24T12:31:00","slug":"7-lives-2","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/7-lives-2\/","title":{"rendered":"7 lives"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong>7 lives<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">JAN KOUNEN, CHARLES AYATS, sabrina calvo<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">VR<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong><em>7 lives<\/em> is a VR tale that takes you to a world where ordinary boundaries disappear. In a suspended moment, you access emotions, visions and memories of others and travel seamlessly between opposing dimensions : intimacy and appearances, past and present, living and dead.<\/strong><\/p>\n\n\n\n<p>Taking root in Japan and shinto, <em>7 lives<\/em> arouse an imagination shared by a whole generation, inspired by japanim and mangas. The narrative yet has a true universal dimension through the very contemporary notions of trauma and resilience. Empathy here is not used as a nice approval to cute things, but a new way to combine narratives, interactions and physical commitments to learn about ourselves and others, beyond words.<\/p>\n\n\n\n<p><em>7 lives<\/em> gathers renowned professionals from different disciplines. The filmmaker Jan Kounen (<em>Doberman<\/em>, <em>Blueberry<\/em>, <em>99 francs<\/em>) brought his ideas and skills in scenography, acting and editing to the interactive scenario written by the video game designers Charles Ayats (<em>SENS VR<\/em>) and Sabrina Calvo (<em>Toxoplasma<\/em>). The sound designer Franck Weber and the postproduction team of Small Studio completed this hybrid team at a very early development stage.<\/p>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-11-1024x684.jpg\" alt=\"\" class=\"wp-image-3807\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-11-1024x684.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-11-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-11-768x513.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-11-1536x1026.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-11.jpg 1800w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"684\" height=\"1024\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-10-684x1024.jpg\" alt=\"\" class=\"wp-image-3809\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-10-684x1024.jpg 684w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-10-200x300.jpg 200w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-10-768x1150.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-10-1026x1536.jpg 1026w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/16-12-20_Chroniques_God-From-The-Machine_Office-du-Tourisme_CREDIT_Pierre-Gondard_-10.jpg 1202w\" sizes=\"auto, (max-width: 684px) 100vw, 684px\" \/><figcaption>\u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p class=\"noMarginBottom\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/7-lives-2\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/7-lives-2\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=7+lives&amp;url=https:\/\/chroniques-biennale.org\/en\/7-lives-2\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artists<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Jan Kounen <sup>(FRA)<\/sup><\/h2><div class=\"artisteContent\"><p>After studying at the Ecole des Arts D\u00e9coratifs in Nice, where he directed his first short films. In 1989, he made the short film <em>Gisele Kerosene<\/em>, crowned Grand Prix in the category of Avoriaz Fantastic Film Festival, <em>Vibroboy<\/em> and <em>Le Petit Chaperon Rouge<\/em>. In 1996, he made his first feature film on the eccentric and violent dog breed <em>Dobermann<\/em>, starring French actor Vincent Cassel. Jan Kounen then traveled across Mexico and Peru, where he immersed in shaman culture and returned in 2004 with the Western <em>Blueberry<\/em>, an adaptation of the famous comic strip. The same year, he continued his study of shamanism with the documentary <em>Autres Mondes<\/em>.<\/p>\n<p>After making his film <em>Darshan &#8211; L&#8217;Etreinte<\/em> (2005), Kounen staged the Comedy <em>99 F<\/em> in 2007, a satire of the world of advertising adapted from the bestseller by Fr\u00e9d\u00e9ric Beigbeder and produced by Jean Dujardin. He then made a film that captured <em>Coco Chanel &amp; Igor Stravinsky<\/em> in which he depicts the connection of passion between the famous seamstress with the Russian composer. Starring Anna Mouglalis and Mads Mikkelsen the film closed the 2009 Cannes Festival.<\/p>\n<\/div><\/div><\/div>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Charles Ayats <sup>(FRA)<\/sup><\/h2><div class=\"artisteContent\"><p>Author and designer, Charles Ayats designs interactive experiences to facilitate the transmission of knowledge, such as Type:Rider, He participated in the design of several web-documentaries for ARTE (Phi, Tati Express, Speedfarming 2050, Check-In, Pas si B\u00eates les Animaux). He adapted the comic strip SENS by Marc-Antoine Mathieu and continued his exploration of virtual realities with \u00ab The Scream \u00bb and 7 Lives, multi award-winning experimental fiction.<\/p>\n<\/div><\/div><\/div>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/09\/IMG_20201018_174823.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>Sabrina Calvo <sup>(FRA)<\/sup><\/h2><div class=\"artisteContent\"><p>Sabrina likes to invent fantastic, quirky and always poetic worlds. She has been living in Hollywood for a few years, writing for magazines (POMO Frag, Disneyland Babylon and Animation Blast). She is a prolific writer, her work deals with the role of imagination in our societies, and the resurgence of mystery in our lives. She has been collaborating on the <em>Wakfu project<\/em>, owned by Ankama studio, and working for Tru Love and Dontnod Eleven as a writer and a narrative designer. Far from preconceived views on video games, Sabrina proves that they are a new extension to litterature, movies and comics. In 2017, she finishes the novel <em>Toxoplasma<\/em>, an apocalyptical thriller on the basis of B-movies and political science-fiction.<\/p>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>Production: RED CORNER.<br>Coproduction: FRANCE TELEVISIONS, a-BAHN, FRAKAS PRODUCTIONS.<\/p>\n\n\n\n<p>Written by Charles Ayats and Sabrina Calvo.<br>Directed by Jan Kounen.<br>Music by Franck Weber.<br>Produced by Marie Blondiaux  and Adrien Oumhani.<br>Coproduced byAnnick Jakobowicz, Fran\u00e7ois Le Gall, St\u00e9phane Hueber-Blies,<br>Nicolas Blies, Marion Guth,  Jean-Yves Roubin, Cassandre Warnauts.<\/p>\n\n\n\n<p>With the Participation of the Film Fund Luxembourg and the Centre national du Cin\u00e9ma et de l\u2019Image anim\u00e9e &#8211; Fonds Nouveaux m\u00e9dias.<br>With support from the CNC (Nouvelles Technologies en Production &amp; Cr\u00e9ation Visuelle et Sonore) the Tax Shelter of the Gouvernement F\u00e9d\u00e9ral Belge Casa Kafka Pictures Movie Tax Shelter Empowered by Belfius &#8211; Isabelle Molhant.<br>Production co-financed by Wallimage Creative and Creative Wallonia.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":3807,"menu_order":0,"template":"","edition":[20,2],"type_oeuvre":[28,12],"class_list":["post-1979","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/1979","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/3807"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=1979"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=1979"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=1979"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}