Sharon Kivland

Juin En Vacances

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Juin en Vacances is a film

originally made from fifty

images taken from French

magazines of 1968, such as

Femmes d’Aujourd’hui, Modes

travaux, and Elle, and edited

to a shorter version here.

The magazines are aimed at

the ambitious yet economical

housewife of that epoch,

who is nonetheless very well

aware of a world that is larger

than her supposed desire to

be well-styled while performing

expertly as an attentive

mother and wife, a practical 

and thrifty dressmaker. The

images originally show the

back details of the particular

outfits made from the patterns

that are supplied in each

issue; in the film they show

women who are walking away,

back to camera, moving out

of sight – rather like Arletty,

in the character of Garance,

at the end of Marcel Carné’s

film Les Enfants du Paradis.

However, unlike Arletty, my

women, whom I think of as my

voyageuses, do not disappear

in the crowd nor drive

off in a carriage, lost forever

to Baptiste, played by Jean-

Louis Barrault (after their

first and only night of love),

for they are modern women.

Instead, they dissolve into

darkness, slipping away nicely

shod or barefoot, dressed for

the weather of travelling in late

spring: Paris to Berlin. In 1968

Air France, the first airline to

both operate regular commercial

flights and introduce jet

equipment on the Berlin route,

offers two direct scheduled

flights per day from Orly to 

Tegel. The travelling women

are carefree, footloose; they

toss their hair and do not turn

to show themselves for they

are not on show. It is 1968, a

time of political upheaval and

social flux; changes beneath

the surface of society are undermining

the structures and

ideologies, and horizons are

widening. The future may be

figured differently.