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Exclusion to the point of death in our liberal societies is a phenomenon that runs through the entire contemporary era, from the appearance of the word homeless in the 1980s to the present day. Terres Communes is a hybrid work, which brings together different materials (texts, photographs, sound creations, documentary film sequences). It has no beginning and no end, and unfolds over the course of four seasons of an indeterminate year of our time.

The documentary is conceived as a square of projections, in which sixteen paintings are inscribed. The question of representation is at the heart of the narrative device, which questions our views on misery and death. In the center of the projection square, the animated image is the spectator's guide, a thread of the narrative. It is completed by a slide show of photographs with sound, in its prolongation. The animated image and the photograph compose an interactive split-screen.

The animated image of the documentary film sequence is never alone. It is accompanied by two photographic series: a material that documents the traces of life and absence in the public spaces of Marseille and Paris; images captured at the time of the shooting, which come to reveal an off-field of the sequence, to carry the subjectivity of the glance of one of the characters.

Photographer Alexa Brunet shot all of her images in the street in 6/6 silver format, a constraining and visible "black box" that asserts itself as a presence. Her aim was not to document the street or to portrait those who live there, but to show the imprint of this appropriation of the city through images that are empty of presence.