At the end of every single interview, just before I left his apartment in Geneva, Claude Goretta still offered me an apple. He came along with a quick hand movement towards the fruit basket that stood on the table of the living room. The red skin of the calvilles brillantes under the threat of a hot spring sun, it made me think of a Vermeer’s dead nature that gave Claude worries. It was nice to see the aged hand of Goretta reaching for that static apple. There never was a relation with this object, like enough will of a filmmaker to transform a fruit in a young Russian girl. Like a film named « La Dentellière », the apple will no longer be the discord sign but the sign of reconciliation of the Creator with his creature, the incarnation in Isabelle Huppert of the beauty that binds them. The invitation to pick up a fruit is another way to say that world is ready to be desired, and that it is our duty - as filmmakers - to take over, to elaborate it in order to make it photosensitive.
What we are celebrating this year in Locarno is Claude Goretta's deeds, the movement of his hand or, rather, the desire which implies this movement and shows the only worthful truth: the truth of sentiments. In this context, L'invitation and La Dentellière – scheduled this year at the Festival del film Locarno – are two movies where truth becomes as palpable as an apple painted by Vermeer.Lionel Baier