Dominique Loreau (Belgium, 1955) studied film directing for one year and film editing for three years at INSAS. For three years, she studied History of Philosophy at the Université Libre de Bruxelles. In the 1980s, she made three short films: Départ (with Philippe Simon, 1981), Le saut dans la vie (1984), and Zigzags (1987), while at the same time travelling on numerous occasions to Africa and making a living as a film editor. In 1988, she took part in Tobie Nathan’s ethnopsychiatry consultations in Paris, which she also filmed (La folie des autres (1990)), and attended Jean Rouch’s classes at the Cinémathèque française. Since 1992, she has been making feature-length fiction films strongly anchored in a documentary reality, in which the actors perform their own roles and improvise within a given framework, leaving room for chance, unforeseen encounters, the passage of time, and metamorphoses: Les noms n’habitent nulle part (1994), Divine carcasse (1998), Au gré du temps (2006), and Dans le regard d’une bête (2012). Since 1992, she has been a lecturer at the Université Libre de Bruxelles, where she teaches screenwriting and film analysis. Since 2003, in addition to her work as filmmaker, she has published poetical texts and the following novels (mostly in collaboration with the painters Lionel Vinche, Loustal, Elsa Cha, Mathias Perez): L’eau du bain, Loin de Bissau, A pas brouillés, L’ombre dans le miroir, Papa où suis-je, and Ne pas dire. She is also developing a photographic oeuvre.

In Benin, an old Peugot is passed on from one owner to the next. Until the very day the car, beyond repair, ends up as an abandoned carcass in the street and finally serves as the protecting fetish of the Ouassa villagers.

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