Why Bent?

More and more travellers from Northern countries are arriving in the the Peruvian Amazon in order to seek the counsel of a master plant in so-called neo-shamanic healing centers. These pilgrims flock there in search of alternative narratives and stories with which to tell their existences, with which to tell the worlds they live in and are inhabited by. This film was made there, among these quests for narratives, and in the shadow of more ancient quests and exploitations that have shaped/scarred this landscape.

  • Charlotte Cherici
  • Charlotte Cherici
  • Charlotte Cherici
  • Ernesto Garcia Torres
    Key Cast
  • Augustin Soulard
  • Charlotte Cherici
  • Victor Donati
  • Project Title (Original Language):
    Pourquoi tordu?
  • Project Type:
    Documentary, Experimental, Short, Student
  • Runtime:
    17 minutes
  • Completion Date:
    November 1, 2018
  • Production Budget:
    4,000 EUR
  • Country of Origin:
  • Country of Filming:
  • Language:
    English, Spanish
  • Shooting Format:
    Digital, 16mm
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Cinéma du Réel
    March 16, 2019
    French Première
    Première Fenêtre
Director Biography - Charlotte Cherici

Charlotte Cherici was born in 1993 in Marseille (France).
She got her Master's degree in Art at the HEAR (Haute Ecole des Arts du Rhin) in 2018. In the same year, her film "Why Bent?" is shown at the Syndicat Potentiel in Strasbourg, Les magasins Généraux in Pantin, Les Grands Voisins in Paris and then at Le Plateau (Frac Île-de-France) and Cinéma du Réel in Paris. She has collaborated on other filmmakers’ projects: as an actress for Nicolas Boone's film Etage 39 (2017) or as an editor for Virgil Vernier's film Sophia Antipolis (2018).

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Director Statement

"I make films.
To begin with, it is sometimes a pretext for experiencing situations.
Some of them precede the film project, which allows me to infiltrate them; others are instigated for the project and wouldn’t exist without it. So I act as if I have to make a film to cause these infiltrations/encounters/arrangements/movements/role plays, but in this sham, the microphone, the camera and my body end up acting so well that images and sounds are recorded. Because of these recordings, I must finally think with this system, emotionally, physically, ethically, politically. Then, I create stories with the people who appear in these recordings, individual or collective, nor necessarily true or new."