Caramba, a troupe with an operetta name, performs in an old abandoned building. A big-eared reporter is the only spectator of this eclectic revue. A moustachioed musician on springs turns into an alligator, a doll wiggles to the rattling of a washing machine… Dumbfounded, the reporter flees to the last bars of a funny and rhythmical Zulu finale.

 The first cinematographic fiction directed by the future choreographer of Codex, Triton and of the Albertville Winter Olympics ceremony. Humour, poetry and acrobatics are all present in the wild imagination of this natural image maker. A colourful film that cultivates a difficult genre: humour and fantasy.

Source : Patrick Bossatti

Dancer, choreographer, director and art director

«As a child, I dreamt of becoming a comic strip artist. Drawing is  usually the start of my creative process. I just throw out ideas and  sketch out pictures that pass through my head. My culture is comics,  musicals, nightclub dancing, and also Oskar Schlemmer, the Bauhaus  choreographer. Discovering photos of characters from his Triadisches  Ballett was a revelation for me. I had always wanted to work with simple  geometric shapes like cubes and triangles. I liked seeing how these  lines and volumes behaved with each other. Alwin Nikolaïs taught me the  importance of light and costume, and the confidence you need to mix  everything together. Technically, it was Merce Cunningham who taught me  the most about dance. I was taking video courses he was giving in New  York. It was fascinating. That’s where I learned how to solve problems  of distance and geometry, and the basic principles of optics and  movement. Tex Avery inspired me a lot in thinking up gestures that are  almost impossible to do. I’ve always kept something of that desire to  create something strange, extreme or crazy in my movements. I’m looking  for a dance style that’s off-balance, always on the verge of toppling  over. With influences like the Marx Brothers, for example, and in  particular Groucho Marx, I’ve developed a taste for naughty risk-taking,  and comic repetition of mistakes.»

Source : Philippe Découflé

More information : cie-dca.com