In Da Bunker : Matthieu Bareyre and Marion Siéfert's film club

There is not a single work that is not influenced by others, and our play Bunker is no exception.

Adam Curtis’s HyperNormalisation and Nocturnes together form a sort of prequel to Bunker, a possible story of the origins of the world in which our two characters, Paul and Ami, live: a fabricated world where the virtual has replaced the sensory experience of people and things. A few decades earlier, Paul would in all likelihood have appeared in I Love $, Johan Van Der Keuken’s documentary filmed in New York, Geneva, Amsterdam and Hong Kong, the four cornerstones of global finance in the 1980s. The character of Ami would no doubt have recognised herself in the silent, combative figure played by Shu Ki in Hou Hsiao Hsien’s The Assassin. It is also likely that Ami might one day wish to embrace his freedom fully by joining all the young people of L’Époque in the night, the streets and intoxication. Finally, the vow of silence that runs through Bunker would undoubtedly never have taken root in us had we not seen Jean-Luc Godard’s Adieu au langage three times at the cinema upon its release.