Although the videos, Orange sanguine, Loup-Loup and I Love Mikey, are not explicitly described as part of a series, the same process of conception and production inspires them all.
They are jointly signed by Serge Comte and Philippe Dorain, the latter being the tenebrous avatar and mysterious double of the former.
Illustrating Serge Comte's definition of "safe at home", the three films were made in an intimate atmosphere, with amateur means like the cam recorder.
They were made following an identical procedure: filmed from an almost fixed position with a simple and short screenplay and a misty vagueness surrounding the disguised main character.

In an interview with Bernard Joisten for Purple Prose in 1995, Serge Comte clearly explained his intention: " [They] are usually portraits with the tiniest movements of the face. I realised that [with] Orange sanguine I could dream up a spectator who didn't make any attempt to listen, but who was content simply to look at the images in a vague manner, without any concentration. On the other hand, some are conceived as the means to fulfil a desire, an urge. A person needs to posses this video. And, in the same way as he/she decides to sunbathe on the balcony or take a cold drink from the fridge, he/she plays the cassette in the video machine. It's a domestic decision." 1

Despite being filmed in exactly the same manner – fixed shot against an unfocused background – I love Mikey differs from the world of fictional confessions of Loup-Loup and Orange sanguine.
A character with a fine moustache and goatee picks up the phone and sings (in playback) the words of a love song in English, to which an imaginary lover answers back.
The syrupy music and lyrics refer to the world of American crooners. In his description of "safe at home", Serge Comte confesses his admiration for Michael Frank, the crooner. In the same way as the image on the television is a source of warmth and light, the love song is an essential element of the intimate and protected atmosphere that "safe at home" should provide.

This tape is far removed from the codes of video clips used in the 1980's by directors like Jean-Baptiste Mondino and Philippe Gautier. It does not make use of any complex effects in the screenplay or production.
In 1999, Serge Comte used the world of crooner's love songs again in producing Love Duet with Rebecca Bournigault, a performance that adopted the form of a romantic duet. Cut-off from the world by Walkman headphones, they sing the words of a song that they alone can hear.

Laetitia Rouiller

1. Interview with Bernard Joisten, Purple Prose, number 9, April 1995.