THE STORY

Written and directed by Camille de Galbert, MARGOT follows the inner journey of a young woman struggling to reconnect with reality as she delves through layers of her subconscious and key moments from her childhood. Utilizing a precise blend of music, dance and striking imagery, this film takes a unique approach to the narrative form by twisting it around the finger of poetic surrealism.

MARGOT is a poetic narrative about love and life, often blurring the lines between realism and surrealism. The film opens on Margot dancing frantically in an empty theatre accompanied by a violinist. She is met by a young boy named Jacques who guides her through various memories from her childhood. Margot is wrought with confusion about her life, stuck in a purgatory-like state, she is faced with the transition into adulthood. Time is nonlinear as Margot and Jacques contemplate their lives, seamlessly shifting from one location to another, triggered by the simple touch of a hand, spark of a lighter, or push of a door.

Inspired by notable modern dance choreographers, Pina Bausch and Anne Teresa De Keersmaeker, MARGOT employs music and contemporary dance as a means to motivate our protagonist through her experience. Though abstract, the piece is not purely experimental, but rather well-balanced with traditional narrative storytelling. At its core, MARGOT is a film about caring for oneself, caring for others, and treasuring the delicate thread that is life, in spite of the struggles one may face.

 

DIRECTOR’S NOTE

Nightmares used to dominate my childhood. After more than enough sleepless nights and wearied days, my parents decided that I should speak with a therapist. My night terrors have thankfully receded since then, yet working through my dreams is something that I’ve carried well into adulthood. What was once a source of midnight distress has transformed into my primary muse. I have become fascinated with the subconscious- the hidden world within us- and it is from this fascination that MARGOT emerged.

Before finding my voice as a director, I was a formally trained dancer, artist, and musician. A knee injury halted my contemporary dance career,  and I decided to turn my creative attention toward film as it is a natural blend of music, movement, and imagery. Influenced by my background as a dancer, I visualize narratives first through movement, and then through film, so it only felt natural to incorporate dance throughout MARGOT.

I am also a mother of two, and am constantly reflecting on my own childhood, unraveling the good from the bad in an effort to ensure that my own children have the best possible upbringing. It is for this reason that I see MARGOT as an invitation for audiences to reflect upon their past and descend into the mysterious beauty of their own subconscious.