Tutti Frutti

From Viennale

Since 2022, Céline Sciamma has been filming her own images, building an archive without a predetermined destination. With this film essay, she experiments with cinema as a solo practice, bringing together observations, self-reflections, personal memories and an imagined future. Loosely organised into mini-chapters that follow a temporal progression, the film is freed from a scripted structure; the camera becomes a means of looking, allowing intuition, curiosity and chance to emerge. Sciamma’s narration connects seemingly disparate images, stories and places, allowing meanings to surface gently through their encounters. Sound plays a critical role here—birdsong forms a delicate recurring motif, alongside Sciamma’s meditative voice and original score. Rather than simply accompanying the images, the sound design changes their emotional register, suggesting that semantic shifts can be sensed through atmosphere, rhythm and repetition. As its title suggests, TUTTI FRUTTI embraces a playful spirit, resisting the reduction of filmmaking to what Sciamma calls an industrial practice. Ultimately, the work reflects on cinema itself: on the act of recording, its potential for resistance and its ambivalent relationship with beauty. (Hyun Jin Cho)