Soundtrack of the film OEIL OIGNON by Michel Zumpf

Orchestrated around a fantastic cast of musicians, we will encounter the trumpet of Jac Berrocal, the British musician Morgan Fisher (Mott the Hoople), the delicate music of Delphine Dora, the strangeness of Ela Orleans. We also hear the singular universes of Loup Uberto or Jean-Pierre Petit, to name a few.

This soundtrack completes a musical trinity : This is the third film of the "Geographe manuel 2" after Socrate pour prendre congé ( 2017 ) and Carte de visite ( 2019 )

Orchestrated, edited and mixed by Michel Zumpf from many sound sources. It is a true journey in sound, which can be listened to without the images, independently of the film, while keeping its strength and relevance. The ear is carried away in various sound worlds, from the intimate to the great spaces, in a absolutely unique electroacoustic work .

«Couple, farewell; I go to see the shadow you became.» These words, taken from Mallarmé’s famous poem (L’Après midi d’un Faune) are the general philosophy and the watchword borrowed by Michel Zumpf to cross anew the border between fiction and documentary(temporarily) closing the trilogy initiated with «Socrate, taking leave» and «Carte de Visite». After Satie and Max Jacob, both misunderstood poets and still unsung heroes of their own lives, «Eye Onion» haunts unusual places and immortal landscapes, tracks light and shadows, voices in high and low tones, lost songs and the organic noise... while «the world is going to end», as stated in one verse by Baudelaire. Bursts of beauty are patiently tamed by a contemplative eye that’s winking sometimes at the actual air. To History «Eye Onion» responds by short stories, in a visual collage surrounded by the works of the 40 composers and performers who sign the soundtrack that accompanies a great picaresque dream.
Jean-Pierre Petit

[FRANCAIS]

"Ces cadres offrent l'épreuve d'une généreuse errance. On pense à Nietszche disant dans une lettre italienne qu'« Il n’est donné à personne de vivre partout » … de ce temps de l'arpentage, qui permet d’effleurer une forme féconde d’agitation, de cet autre à l’étude où l’expérience de penser commande d’éprouver plus intimement la durée ; un tâtonnement, une patience dans la rencontre. Tous deux coïncident d'un lieu l'autre. Après Nietzsche choisissant l’errance, Simone Weil subissant l’exil soutenait que la pensée ne se forme que dans un esprit se trouvant seul en face de lui-même. Ces chemins sont seuls et multiples, oscillatoires, se meuvent comme errances solitaires, famines de voir, avec du même temps l’audace de convoquer un foisonnement de sources, de corps, de matériaux et de questions."
Loup Uberto