And what if Ulysses, on his return from his time travel, had only found undecipherable scribbles, broken pieces, sombre and shifting landscapes, memories scratched like splinters (of his world and his life)? His own room has become hardly recognisable to him, with his television still switched on, the cooker, the window and his wife sleeping. A disturbing disorder has established itself all around in which eyes and ears seem in a constant state of waiting, as if they are prisoners of these fragments of a reality so gripping, obtuse, impossible to avoid and yet lying, fleeing, opaque. The spectator of the white she- camel than might have a premonition about what it means to be ?a stranger in the world?, like solitary weight, but also like tension of discovery, like desire to retrieve his past, like a longing to find a viable place. However, only few things will come to his rescue. A truck disappears in the landscape like a ship in the see. A woman in a flowery dress bathes in a see of blood. A child watches us with stunned eyes. The carcass of a torn strange soviet machine lies on the ground. Hereby, Xavier Christiaens has invented a new way of remembering, to turn back time by single jolts, by upheaval, by negative ?apparitions?, declaiming time like a song that is said backwards. And there is something slightly monstrous in his film. It is a part common to all strong works that do not leave the spectator in peace. But what a reward it is when at regular intervals along that road moments of unimaginable grace suddenly appear. There are ?apparitions? in the white she-camel of the kind we rarely get a chance to see in cinema.

Belgian self-made filmmaker born in 1963, former assistant of Bruno Dumont and Benedicte Lienard. His first and foremost poetry film - ?the taste of koumiz? (2003) recalls the aesthetic universe of Alexander Sokourov. It has been selected in more than twenty international festivals and won two prizes. It was broadcasted on the Belgian national Channel RTBF.

The white she-camel is his second film produced with his wife Sandrine Blaise.