CORRESPONDANCES

This is not about trying to characterize the underground
in the leading role. No, it is more about using it as a central location: a
perfect image of urban sprawl and industrialized society moving at a hectic pace. An apparently innocuous place where one can cross paths with someone
without even seeing them. The underground network which endlessly moves the incessant flow of people.In the middle of the restless crowd, we can see these men and women whose advanced age dispels this feeling of urgency which makes the world go round..In an atmosphere of indifference and loneliness, they live out their old age in the heart of the city. An old age that we consider like a serious illness
to be fought against, that one chooses to hide or ignore. These people, however, have so many things to transmit to us, they are our roots, our memories. Within the confines of this place, in the heart of the underground, I will go to meet these men and women. They will tell us about themselves, their lives and their visions of the world. They will transmit a part of themselves to us, their worries, their realities, their dreams… and they will also tell us about the place they hold in the mass societies.
Progressively eliminating the borders, we will pass from one subway to the other (Mexico City – Brussels, Brussels – Mexico City), from one person to another. To take other views of the “elderly”. It is the topics and the individuals that will weave the structure of the film, and not the cities, because the film is not about drawing parallels between Mexico City and Brussels. But looking at what happens elsewhere in the largest city of the world will transport us back to what is happening right next to us, and
supported by the same concern: getting old in the cities. For old age is everywhere… inescapable. And, despite the distances that separate man, they are universal. The cycles of life are identical everywhere: one is born, one grows old, then one dies; it is only the codes that differ.