In April 1969, Marguerite Duras published Détruire, dit-elle (Destroy, she says), a text that she would adapt for the cinema the same year. The fragmented story takes place in a hotel, on the edge of a wood, and features three characters prey to the power of desire. As is often the case with Duras, waiting replaces action, words seem to be won over by a strange torpor, and the destruction here is that of the social order. A geometry of space replaces in fact the psychology of individuals in order to translate an impersonal force at work. From one attitude to another, a similarity between the different protagonists is played out, which finally calls into question any singularity. Thus, Détruire, dit-elle (Destroy, she says) it is carried by a radicality which testifies to the deconstruction of the humanist subject proper to a certain modernity, known at the time, post-structuralist.

Fifty years later, it is not a question of literally taking up this approach. But by reversing Duras’ title, it is not a question of returning to the power of the author/artist without questioning it. In fact, Crià dicenu wishes to show the effervescence of the Corsican artistic scene where women play a primordial role while recording a new identity perspective. Something indeed seems to cross the whole of the exposed works, that we can venture to name a power of metamorphosis. In the images and sounds proposed, a process of transformation can be observed. It is there the sign that the insular territory is of course far from being fixed. And that the sensitivities which are deployed there watch and search for experiences able to touch us, to alter us, and to make us understand that the feminine of which it is question is above all the expression of a questioning of the dominant representations which always wish to be statufied.