Delorme

Delorme: a short film at theheart of theharassmentpsyche

the echo of inner voices

The short film Delorme, directed by Marceau Watrin and shot in theheart ofMontpellier’s Musée Fabre, is a psychological exploration of a deeply contemporary subject: the lasting effects of harassment on the mental and emotional make-up of a victim.

A subjective descent into anguish

The film follows Anaïs, a reserved and solitary young woman, as she draws in a museum gallery. Gradually invaded by intrusive thoughts and negative voices, she allows herself to be overwhelmed by anxiety and the gaze she imagines is weighing on her. This inner pressure leads her to sabotage her own drawing, triggering a tipping point where the line between reality and mental projection becomes blurred. Anaïs finds herself the prisoner of her own anxiety-provoking projections, pursued by a terrifying incarnation of the Marquise, a figure both accusatory and symbolic.

Rather than depicting scenes of harassment head-on, Delorme chooses a more insidious approach: the spectator is plunged into the interiority of the main character, into these mental mechanisms where fear, humiliation and the anticipation of rejection contaminate every perception of reality.

A production at the service of the psyche

A strong visual identity

The design is based on a precise formal structure:

• Very tight frames, close-ups and subjective shots to follow Anaïs’ gaze and lock the viewer into her feelings.

• Intrusive sound work, made up of whispers, imagined jibes and repetitive sounds (pencil on paper), which gradually saturate the auditory space to the breaking point.

• Visual disorientation, axis shifts and breaks in spatial continuity, reflecting the character’s loss of bearings.

• The museum becomes a symbolic backdrop in its own right: the paintings, magnificent frozen figures, tower over Anaïs, contributing to her sense of being crushed and constantly judged.

The cinematography plays on the strong contrast between the character and her environment. Anaïs’oversaturatedyellow jumper sets her apart visually from the rest of the world, which is deliberately desaturated, accentuating her isolation. The lighting, constrained by the actual location of the shoot, is diverted to reinforce the dramatic tension and accompany the character’s mental evolution, right up to the final tipping point.

The colour grading, editing and visual effects extend this logic: the blood on the hands becomes living matter, the painting a character in its own right, and the editing a sensory tool at the service of intimate horror.

A collective project

Delorme is the fruit of a collective effort by a committed team united by a common desire: to create a genre work that questions, disturbs and leaves a lasting impression on the spectator.