By Philip Leslie

He is filming in the park again; his preferred location. He comes here three, four times a week. There are always movies to be found among the trees, any time of day or year, especially summer. He is never encumbered by storyboards or scripts. Like Godard, he prefers to work with natural light, his actors in their own attire; unknowns, comme Rohmer. He has a predilection for les femmes. As luck would have it, there are deuz femmes side-by-side on a nearby bench, catching the last rays. He prepares his camera-action-pans left. A promising scene. What is the relationship between the pair: patient and nurse? sisters? Their conversation is sparse from familiarity. There are smiles and nudges, and intrigue too when a cellphone is left unanswered. Moments later, as if having sensed his wishes, they bump noses, press foreheads together. Ah, les amants. This is shaping up to be a fine movie. Having checked for prying eyes, one has moved her hand surreptitiously to squeeze the other’s knee, a development he records most carefully, an hommage to Antonioni. Cut to a close-up of lips disengaging to leave a thread of glister. He freeze-frames this la Truffaut to relish. The bolder one follows this by applying lips to her lover’s neck. The pleasured other, her face now turned the director’s way, is quick to penetrate his camouflage and stares like Bergman’s Monika, challengingly. The fourth wall down, he really ought to Cut, but finds it hard to stop. Besides, it’s a crying shame to waste what’s left of the golden hour. Pushing his lens through the greenery, he continues to shoot as the actresses hasten away.

If you enjoyed Auteur you can buy the e-book of Flash Fiction Fest 2013 "Deadly Sins" for Kindle, iBooks or Google Play, or you might enjoy Philip Leslie's novel What Remains.

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