Experiencing Interruptions?

To Wander So Many Miles in Vain

A “filmic ballad” in the heart of the city of Rio de Janeiro in which Angelica De Paula shares her daily life during the first lockdown. Her story and her songs evoke the domination and power relationships which materialize in bodies. Performing a singular memory through her songs, she creates alternative images to the violences she's enduring. By choosing to keep moving, feeling, sharing, she ensures that the gestures of BIPOC women will not be erased or made invisible once again. It is in this form which they call "documentary dance " that Sacha Rey chooses to respond to the mutism of “necro-liberal” society which produces and makes invisible “sacrificable bodies” (F.Vergés). Through this method, they seek to interview the physical memories of the protagonist.

  • Sacha Rey
    Director, image, sound and editing
  • Lucas Pedro Levecchi
    Asistant director and translation
  • Angelica De Paula
    Film score composer and singer
  • Laurent Leblanc
    Sound Mixing
  • Adrien Von Nagel
  • Nanaui Amoros Silva
  • Daniel Pinheiro de Andrade
  • Sacha REY
  • Sacha REY
  • Project Type:
    Documentary, Experimental, Short, Student
  • Runtime:
    19 minutes 52 seconds
  • Completion Date:
    June 14, 2021
  • Production Budget:
    700 EUR
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
    HI8 K7 and HDV (5D Mark III)
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
    Yes - école des hautes études en sciences sociales (EHESS)
  • Cinéma du Réel, Première fenêtre, Centre George Pompidou
    March 12, 2022
  • Hungry eyes festival
    August 27, 2022
  • Premiers regards, Université Paris Nanterre
    April 9, 2022
  • Garce collective, Vidéodrome 2
    March 19, 2022
  • Festival Parallèle (group show), Coco Velten
    January 19, 2022
  • Festival pouvoirs et dérives, Xeno- ASBL
    November 25, 2021
  • Goodbye Horses (group show), Poush Manifesto
    June 18, 2021
Director Biography - Sacha REY

Sacha Rey is a visual artist, director, performer and researcher born in 1991 in Nice. They define themself as a non-binary, white, neuro-atypical and queer person. Their pronoms are they - them. Since 2016, they wear blue lipstick on a daily basis. They graduated with the Congratulations of the Jury at the École Nationale Supérieure des Beaux-Arts de Paris in 2019. In 2021, they defended a master thesis with merits about “documentary dance” at l'EHESS (l’école des hautes études en sciences sociale). They are currently resident at Artagon Marseille, where they have their studio.

In recent years, they have participated as an artist in group exhibitions in art centers such as: Bétonsalon and the Villa Vassilieff (Paris), the Generator (Gentilly), POUSH Manifesto (Clichy), Le Château d'Angers and the Musée des Beaux-Arts d'Angers (Angers), Artagon et Coco Velten (Marseille), Le Café Congo (Brussels), the Stadtmuseum (Düsseldorf) and the Spiral Wacoal Art Center (Tokyo). They have also performed in France, Belgium and Japan for choreographers and visual artists such as Jocelyn Cottencin, Matthieu Doze, Julia Droga, Emmanuelle Huynh, Jennifer Lacey, Hoang Lê, Yuko Mohri, Daniel Nicolaevsky, Clédat & Petitpierre, Rully Shabara , Nathalie Talec and Mélanie Villemot.

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Director Statement

Sacha Rey engages in a practice which they describe as "documentary dance" - thus refusing the assignment of categories. Sacha Rey uses dance as a language, as a word as valid and legitimate as orality. Through this method, they seek to interview the physical memories of the participants in order to transcribe these « biographical trances » (Lesourd). From an intersectional feminist and queer perspective, their plastic research is based on a constant effort to shape intimate, political and poetic narratives. They seek to create a narrative through what is missing. They voluntarily sets up riddled narratives including lack of data, sensory deprivation, to provoke an imbalance, a loss of reference, a loophole in which the spectator interferes with their own story. In hybrid and protean works, they create spaces of encounter and transmission, which tries to respond to the silence of a « necro-liberal » society (A.Mbembe) which makes sacrificed bodies invisible.