Fred L'Epee – Film Maker


3rd International Festival Cinema Libre | Hamburg (Germany)

“The White Widow” (2015) is selected for the 3rd International Festival Cinema Libre of Hamburg (Germany) which will held from 28th to 30th August 2015.



Cinema libre differs from the cinema made by industry, television, business, entertainment, motion picture, technology and money. Free from rigths, under licence art libre or creative commons, it is shared and can be diverted without tethers.

To be independent from the film industry, movies can be self-produced, crowd funded and/or be produced with no money at all. In the last decade, digital technologies extended the space of cinema libre and enabled everyone to take back this way of expression swallowed up by industry for decades.

Analogue formats are also coming back as a way to explore and experiment things thanks to alternatives and shared laboratories which are growing up everywhere in the world.

Cinema libre has something to say, something to shout about. It does not pay attention to public expectations. It is neither a job, nor a business. It does not look for a return on investment. It ignores codes, formats and fashions. It is a cinema of experiments and it is often based on DIY, sharing, lightness and freshness.

Cinema libre places poetry before technique, life before show, and facts before effects. It is the antidote to the dominant and standardized pictures, which shape us.


Festival International Cinema Libre


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New film project in process @HeliconFilms

New film project in process “The White Widow” (2015)
Soon released in the month of February.
Thanks for all your support.
– Helicon Films

The White Widow (Film poster)

Helicon Films is an independent film production company based out of Switzerland and the United States that produces short films. The films are three to twenty-four minutes in running time. The films are in black and white, in color, or in a combination of both. The genre for these films is experimental with an emphasis on exploring existential themes. We produce three or four films per year. There are three divisions of our production company: production, preproduction, and postproduction.

Fred L’Epee
Kenneth Gentry
Ed Alvarado

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Article “Pathology of the Image”

Pathology of the Image
Article by Fred L’Epee


"Pathology of the Image" by Fred L'Epee

The image is a process that will never stop. We belong to her as she belongs to us. We film it. We look at it. It forms the expansion of us even. Our private impairment. The image is a psychological movement of gesture, act and its temporality. But the image also creates a pathology which influences psychologically our daily forms and our functional modes. Reversible as the symbolism of a mirror and dominated by the fascination of beauty and its opposite; the endless Aidos. Refusal and virtuousness of the body. It persecutes our existential and metaphysical pulpit to corrupt definitely the material which is our body. Definitely. The image and its movement. Picture is its expansion. A charming game became established there.

In my latest films, I explain the metaphysical presentation of the body, the loss of its form by its impairment. The image and its pathology when the body lose its form to become shapeless. This is some essential databases from the introspective research into the individual and the positioning of its corporate name. The influence of the image can only intervene when its representation is playing a role of psychological moderator. There is a visual launching.

The image becomes an imposing abstraction on our ways of life; and our cogitation. As a feeling and; the willingness to reassert laws. In reaction; we re-create a reaction. Like a matrix; we use it to imagine our freedom, our shouting, derive or social struggle. We belong to her as she belongs to us. This is our expansion. Our private alteration. Definitely, the charming game became established.

The image is a first form of solar love which is like a cloud that floats above the liquid element. Metaphysical exhibition which sometimes becomes storm, falling on the earth as rain while lightning smashes the layers of the atmosphere. Then the Body loses its likeness with form to become Shapeless.


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Kassandre – L’autre cinéma | Publication “Module algorithme de l’image”


L’ art visuel expérimental est actuellement une nécessité culturelle dans la notion sociologique de notre être, dans sa matrice affective et dans notre besoin d’ identité en parallèle à notre expression contemporaine.

Outre sa forme et son contenu, l’art visuel expérimental est un outil de création alternatif qui permet un accès commun et qui redéfini les lois archaïques d’ un cinéma élitiste. Toucher l’image devient perception, animation, composition de la décomposition émotionnelle.  L’art visuel permet également de créer de nouveaux mouvements physiques, mentales, psychologiques ou métaphysiques.

Attractivité. Interactivité. Expressivité.

C’ est un média transdisciplinaire véhiculant nos émotions par ses formes multi- disciplinaires ouvrant des portes importantes dans notre culture actuelle. Sa conception délibére des perspectives simultanées, spontanées tout en s’accordant parfaitement à nos modes de vie algorithmes.

L’ image est une ressource humaine immuable. Dans sa généralité, l’expérimentation visuelle est transposition qui s’altère en une abstraction évolutive. La création et sa renaissance. Genèse. L’art qui évolue nous permet d’évoluer en parallèle. Oxygénation perpétuelle de notre esprit et de notre corps.

Dans ce monde impossible, l’art expérimental visuel nous permet la possibilité. L ‘image est un champ de force dont les utilisations angulaires n’ont pas de gravité. Paradoxe pour ce monde arrêté. Car il y a comme un besoin vital d’un language et une nécessité d’ accès communs. C’est actuellement, ce que nous cherchons.

Son interaction sociale et sa connectivité culturelle sont des mots clés. Voici l’art médiateur.  L’image ou notre conscience éveillée.





Cet article inclus les notions et aspects médiateurs des films:

(In Exilum) (2012)
(The Island) (2011)

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