filmica.

In the Palace began with a daydream to enter inside two inaccessible places, to penetrate the tinyness of Giacometti’s surrealist sculpture The Palace at 4am (1932) and to move beyond the flatness of various photographs of early Modern stage and dance productions. In this film, Giacometti’s sculpture (which in a sense already resembles a theatrical model) is streamlined and scaled up to become a stage set proper; the posed theatrical stills are restaged as tableaux vivants.