Critical assessment
Thus in Zona Oeste, "the ambiguous relationship of the real to its mise en scène” is striking, “to the extent that we no longer really know which came first” [3] but “something ineffable is always present, behind things and images” and the film “has only one horizon, the bottom of things”. [4] In Miguel et les mines, “six autonomous segments combine to explore two questions: how blows are dealt with, and how to represent perception transformed by the fear of an explosion?". [5] 1/3 des yeux could be “a blindness admitted by the film, diminished faculties of perception and deliberate partiality, an “unexpected response to the autarky of the view point” [6] with its structure which integrates “the accidental – sometimes very poetical – charge which is part of the very recording of reality, what Zabat calls “spontaneous dramas” (and which) “create a real acuity in the viewer” : the object of the film is “the construction of the gaze”. [7] [8] In Yves, Olivier Zabat “is not doing a portrait” (of this man) “he is attempting to reconstruct his relationship to reality, which is more complex than it might appear”. [9] Fading, “with a mobile phone and a few plays of chiaroscuro, reaffirms the omnipotence of the image”, [10] “it is a question of apprehending the film as visual, sound and textual material, with bursts and fades.(...). From one story to the next, the same desire for the image – which is also a desire for vision - is expressed.(...) Although it is very much rooted in the contemporary, Fading is also marked by a form of primitivism, with this vacillating light that is the cinema, and this eye that watches and imagines it”. [11] As for Perspective du sous-sol, Olivier Zabat tracks an actor and strongman “answering the call of a supreme entity called the Seventh Art”., [12] (and puts him to the test with a fight and a monologue), “weird hand-to-hand choreography, really violent in the heaviness and the slowness of the conflict, which is continually wavering between resistance and exhaustion, bringing a singular visual reality to the symbolics of the text”. [13] In Arguments, “the challenge” (of voice hearers) “overlaps so fully with that of the filmmaker’s, whose delicately empathic staging seems to act from within through the activities of his subjects”. [14] “Instead of focusing on the strangeness that this affliction opposes in the viewer, Olivier Zabat filmed those moments in life that voice-hearers share with the rest of us until their world no longer appears as a parallel universe, but as an augmented reality”. [15]
