Excerpt from the "Les Enfants Terribles" trilogy featured on Passage des Arts, a France 5 television program. Conversation between host Claire Chazal and Katia and Marielle Labèque.
Le Figaro called the trilogy "grandly poetic."
"The release comes complete with a thoughtful video directed by Ronan Day-Lewis, which extrapolates and embraces moments both human and element, and stars Lena Christakis and Rocco Rinaldi-Rose."
- David Graver, Editor in Chief of Cool Hunting
"There are also three small films on the site of the 'terrible' sisters (www.labeque.com), where flow the neo-surreal images of Ronan Day-Lewis, who 'connected deeply with the subject matter of these two lost souls isolated in a world of their creation.' 'As well as the current relevance of the story to our collective isolation in the midst of a global pandemic,' explains the very young visual artist-director... 'I was drawn to its themes of the difficulty of leaving childhood behind, and the dangers of clinging to a paradise already lost, or one that was never really there. The book seemed to hint at something sublime. I started to feel that it contained all the ethereality and bodily reality of the human condition, the desperate fragility of life.'"
- Giovanni Gavazzeni, Il Venerdi
"Coming back to our Enfants Terribles, it should be noted that Deutsche Grammophon, ahead of the release of this album and to illustrate the pieces, has already uploaded 3 video clips (also produced by the Labèque sisters) to its Youtube channel; images that we owe to Ronan Day-Lewis, the young son (22 years) of Daniel Day-Lewis and Rebecca Miller, who took them with an iPhone in New York State, and in particular on a beautiful beach which could have been Landes or Basque... Beyond that, 'We find in these images these terrible children from Cocteau's novel who, locked in a room, create their own universe. We can tell by Ronan's work that he grew up in this world of cinema and that he has that in his blood,' comments Katia Labèque."
"At first, the stuttering straight lines that Ronan Day-Lewis paints with seems to be a visual shorthand— it’s much easier to paint pastoral fields as a plane of color hatched with marks than to meticulously consider foliage and individual blades of grass; in the hands of an artist who paints abstracted scenery and figures, lines are a useful tool. But the frenetic, anxious quality of these marks gives the impression of someone scratching against the wall to count time. Day-Lewis suspects that the marks are an obsessive manifestation of his repeated examinations of his childhood memories and emotions. In the work that he makes (primarily paintings and film), he explores the way that he mythologizes his past, creating art that reflects the passage of time."
-Mary Truong, Art-Discontent