Homeo

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

Directed by Étienne O'Leary, Homeo leans on a strong ensemble — Michèle Giraud, Yves Beneyton, Pierre Clémenti — to carry a story that balances spectacle with character.

The film landed with audiences for its craft and performances, and remains one of the most talked-about documentary titles of 1967.