Artists in residence

Aline Fischer, filmmaker, has graduated from the Institute of Political Science in Strasbourg and the Konrad Wolf Film School in Potsdam-Babelsberg. She also holds a degree in sociology and a master’s degree in documentary filmmaking from the Lussas Documentary School.

Her filmic approach is mainly based on the question of gender and the crossing of borders, more particularly in marginal territories, sometimes on the borders of several countries. In her fictions, she highlights life paths that transcend geographical and political spaces.

In 2010, she directed her first medium-length film shot on the former Oder-Neisse front line on the German-Polish border, The Wild West, for which she received the Louis Lumière – Villa Médicis Hors les Murs – grant and the support of the CNC. She then crossed Ukraine from West to East to document the Youth Moves Europe campaign. She studied at the Sapir College School of Audio in Sderot (Israel) and spent several periods in Jenin in the West Bank thanks to the Deutschlandstipendium grant (Ministry of Higher Education and Research – Germany).

Her first feature film, METEORSTRASSE, a portrait of two Palestinian brothers, was presented at the Berlin Festival in the “Generation” section where it was nominated for the Best First Feature Film Award. The film was subsequently screened at over forty other international festivals.

In 2018, she was assistant director of Rabah Ameur-Zaïmeche, and directed a film for the jazz trumpeter Erik Truffaz. In 2019, she directed LA FUITE EN EUROPE, a short film co-produced by Arte alongside nine other European filmmakers for “The Love Europe Project” against nationalism, which received the Adolf GRIMME Award in March 2020.

Aline Fischer is currently developing her second feature film.

A multidisciplinary artist, Camille Fischer develops a baroque aesthetic, which in certain aspects is part of her symbolist heritage. She refers in particular to William Morris, Maeterlinck, or even Huysmans. Comparable in sophistication, her work differs, however, by refusing the morbid fascination but retaining the historical concern of the artists of the time, in front of the upheavals announced by the industrial revolution, which echoes for her generation to the comparable issues of contemporary globalization.

“Camille Fischer is a bit of a life against the light, made of black and bright images. Her work is not to be thought about, it is to be seen, like a small eternal and wild party, like a garden where there would never be any sun. A dance, flesh stirring and showing itself to the flowers. In an exaggerated decoration, in a flora that does not exist, one feels close, soon mixed with the arms, the legs, the reflections, the stirred colors, with the thickness of the black. At the bottom of the night shines a naked piece of woman, a flower, an iridescent sex… “

— Claire Boullé extracted from the catalog Peindre dit-elle, Musée des Beaux-Arts de Dole.