The first shock to the vision of this eight-minute work (born out of a year-long work of frame-by-frame remaking of a cult sequence of Philippe de Broca’s « Man of Rio ») is that of an almost spectral vision of Brasília, in which all bodies have been implacably erased.

In addition to the artist’s discourse, which takes as its narrative springboard the social eradication of the hordes of day laborers from the building that was to be erased from the narrative of the construction of a new capital for the middle and upper classes, What guided the choice of the structure in favor of this work is also the paradoxical and icy topicality of this distancing of bodies in the current sanitary context of « distancing », where the very materiality of the body becomes a source of fear in a stigmatization of physical contact in a kind of « decorporization » of ourselves. Fortunate unforeseen technical hazards in the video, which create random pulsations in the image, seem to evoke a resistance of bodies to their negation that is still current, in a form of temporal bridge at decades of distance. Incidentally, Lúcio Costa and Óscar Niemeyer (urban planner and architect from Brasília) or Françoise Dorléac (whose « L’Homme de Rio » was her first great popular success) all had destinies linked to Nice or the French Riviera, other paths that the Forum offered Guillaume Linard Osorio to seize to propose a new and unique work to offer to immerse himself in his filmic work.