awards/events

World Premiere, The Tribeca Film Festival, NYC 2008
Avant-premiere, Cannes Film Festival, Cannes, France 2007

notes

This film was made from the still photographs of Peter Lindbergh. It exists in English and French versions in HD video and 35mm film blowup, both narrated by Jeanne Moreau. Moreau herself did the final French translation, at the end of a day spent recording the English version.

The script for Mademoiselle was written for Jeanne Moreau by Jean Genet, with input by Marguerite Duras. Release of Everywhere at Once is pending on the Jean Genet estate who holds usage rights to the film clips from Mademoiselle that appear in this project. It will not be screened theatrically until this issue is resolved. In the meantime, Fisher has legal rights and Peter Lindbergh’s blessing to screen the film as part of her oeuvre, including: centers for film/video study & exhibition, schools, universities, festivals, galleries, and museums.

press/reflections

“In Everywhere at Once renowned photographer Peter Lindbergh and experimental filmmaker Holly Fisher collaborate to weave together a tapestry of images, incorporating Lindbergh’s still pictures with clips from the Tony Richardson film Mademoiselle (1966), starring Jeanne Moreau. The photographs are animated through a re-filming process to create a flow of moving images that are intercut with passages from the movie. Iconic actress Jeanne Moreau, using a text by American poet Kimiko Hahn, narrates the diary-like fragments of memories and recollections in the first person. The haunting music by Lois V Vierk accentuates the fleeting quality of these fragments of dreams and memories. As with Fisher’s other experimental feature films, Everywhere at Once exists on the dividing line between fiction and documentary. Rather than offering a linear narrative, threads of the story move forward and are interrupted, bending back upon themselves in space and time, resolving into a series of subjective associations. The film might be read as a biography of Moreau’s own life, as a fictional discourse on the protagonist’s emerging sense of selfhood, or as a humanist meditation about childhood, youth, and old age. Whatever the viewer’s interpretation may be, the film functions most deeply on the level of an intensely subjective rumination on perception. This positions Everywhere at Once squarely in the tradition of such avant-garde French New Wave classics as Hiroshima, Mon Amour (1959), Last Year at Marienbad (1961), and La Jetée (1962).”

— Jon Gartenberg, former Experimental Film Programmer, Tribeca Film Festival & President, Gartenberg Media Enterprises

“…Last night, Fisher, an influential figure in American experimental and documentary cinema (she was the editor of the landmark documentary Who Killed Vincent Chin? in 1989 and is the director of Bullets for Breakfast made in 1995), screened her new work Everywhere at Once. It’s what I would call a cinematic portrait of how women are visualized and idealized in what the festival program says is a “sumptuous” film reflecting on love, beauty and mortality. It felt like one of those only-in-Texas-bigger-than-life-screenings: a difficult and demanding experimental work in a multiplex theater in downtown Houston, with an image as big as the Texas sky…”

— Patty Zimmerman, FLEFF – OPEN SPACES, blog following screening at Houston Cinema Arts Festival (link to full article)