Jafar Panahi (winner of the&nbsp;Palme d'Or at the 2025 Cannes Film Festival) sets out to find a young woman with a golden voice that has been forbidden to sing by Iranian authorities.“Social films are inspired by the director’s “sensations” and “experiences”. These sensations/experiences erode the soul of the filmmaker until they can be released into a movie.
This is the reason why a filmmaker cannot be told to make or not make a movie. Telling them not to film will never breach their resistance; neither will it close all the paths leading to making a movie. The opposite is equally true: if they are commissioned a movie, something resists inside them and prevents them from making it!
Three years ago, when I was shooting Trois visages, I was asked to make a short-film for the Paris Opera. I felt this resistance for two years. Don’t forget that since the Islamic Revolution, the opera as we know it has disappeared in Iran and that the oldest opera house of the country, located in Tabriz and built in the European style, had to close its doors and was destroyed after the Revolution, on a decision of the city’s imam who officially described it as a mediocre place promoting corruption... This historical building was replaced by a mosque.
Since the screening of Trois visages, I’ve received many messages from movie lovers, telling me that this film reminded them strangely of their own lives and stories. After that, I came up with the idea of this short-film and I thought that, maybe, it could match the Paris Opera’s project.” Jafar Panahi, director Winner of the 2025 Palme d'Or at the Cannes Film FestivalDirector: Jafar Panahi; Cinematography: Solmaz Panahi, Jafar Panahi, Nader Saivar; Editing &amp; Color Grading: Amir Etminan; Sound Editing &amp; Mixing: Reza Delpak; Assistant Director: Saman Iranzadeh; Subtitles: Toufan Garekani; Co-production: Opéra national de Paris / Les Films Pelléas / CC&amp;C (Mediawan); Executive Production in Iran: Jafar Panahi Film Production; Executive Production in France: Balthus; Post-production in France: Pooya Abbasian; Production Administrator: Benjamin Pasquier

Hidden - 3

Hidden

Hidden - English version

Hidden - French version

Jafar Panahi (winner of the&nbsp;Palme d'Or at the 2025 Cannes Film Festival) sets out to find a young woman with a golden voice that has been forbidden to sing by Iranian authorities. “Social films are inspired by the director’s “sensations” and “ex

Jafar Panahi, Palme d'Or award at the 2025 Cannes Film Festival

The film director and screenwriter Rebecca Zlotowski has entered the world of cinema with two award-winning films, “Belle Épine” and “Grand Central”. Her encounter with the team of the “3e Scène” has profoundly altered her vision of the Paris Opera, which had formerly seemed to be a closed and academic world from which she had felt quite remote. Attracted by the creative freedom that was offered to her, she realized that the Palais Garnier, a place peopled by phantoms and the spirits of those who used to live and work there, was an ideal stage to experiment with a subject that is at the heart of her next film, “Planetarium” : spiritualism. Together with two actresses and a group of Paris Opera Ballet dancers, “actors” of astonishing discipline, Rebecca Zlotowski has created, in a single day of shooting, a film full of imagination about the unexpected invocation, during a rehearsal, of the spirit of a master of dance.&nbsp;&nbsp;Director: Rebecca Zlotowski; Choreographer: Kate Moran; Spiritualist: Talina Boyaci; Pianist: Touve Ratovondrahety; Production: Slowdance; Producer: Juliette Lambert; Production Manager: Charles Sels; Production Coordinator: Valentine Suc; Director of Photography: George Lechaptois; Music: Touve Ratovondrahety; Sound engineer: Jean-Luc Audy; Set designer: Nicolas Migot; Makeup artist: Miwoo Kim; Stage manager: Benjamin Vial; Electrician: Olivier Regent; Boom operator: Sophie Guillemarre; Prop master: Bénédicte Charpiat; Makeup artist: Babouchka Henriquez; Hair stylist: Jonathan Dadoun; Stylist: Victoire Simonney; Dresser: Jeanne Dekonink; Production manager: Benoit Hardouin; Editor: Julien Lacheray; Colorist: Gabriel Porier; Sound mixer: Marc Doisne; Sound editor: Nicolas Bouvert; Post-production manager: Stéphanie Dubois; Graphic designer: Amanda Champarnaud; Post-production: Nightshift

Rebecca Zlotowski  - 09/06/2015

09/06/2015

The film director and screenwriter Rebecca Zlotowski has entered the world of cinema with two award-winning films, “Belle Épine” and “Grand Central”. Her encounter with the team of the “3e Scène” has profoundly altered her vision of the Paris Opera, 

Rebecca  Zlotowski

The Human Race is extinguished and only maintenance robots inhabit the Planet Earth. At the Palais Garnier, every evening when night is coming, Mikki the robot screens on the stage the mysterious pictures of a dancer.&nbsp;&nbsp;Directed by: Ugo Bienvenu, Félix de Givry; Featuring: Amandine Albisson, Prima Ballerina; Ballet Master: Fabrice Bourgeois; Director of Photography: Inès Tabarin; Film Editing: Félix de Givry, Aymeric Schoens, Ugo Bienvenu; Sound Editing: Antoine Bertucci; Mixing: Tristan Lhomme; Animation and special effects: Kombbo; Music: Emahoy Tsegué-Maryam Guèbrou; With the participation of CANAL +; Co-production: Opéra national de Paris, Les Films Pelléas; Production manager: Jean-Philippe Rouxel

VISUEL L'ENTRETIEN 1

L'Entretien © OnP Les Films Pelléas

L'entretien

The Human Race is extinguished and only maintenance robots inhabit the Planet Earth. At the Palais Garnier, every evening when night is coming, Mikki the robot screens on the stage the mysterious pictures of a dancer.&nbsp;&nbsp; Directed by: Ugo Bie

 Ugo Bienvenu & Félix de Givry

Bringing together Michael Lonsdale, Bastien Vivès and Daniel Larrieu, film director Arnaud des Pallières dedicates a short film to Edgar Degas, a movie about dance and painting that also unveils the darker side of the artist.&nbsp; &nbsp; &nbsp;&nbsp;Director, Editor &amp; Screenplay: Arnaud des Pallières, based on the work and correspondence of Edgar Degas, “Degas et son modèle” by Alice Michel, “Degas parle” by Daniel Halévy; Choreography: Daniel Larrieu; Drawings: Bastien Vivès; Music: Andantino Sonata D959 by Franz Schubert, adapted and performed by Martin Wheeler; Assistant Director: Pierre de La Forest; Assistant Editor: Caroline Thuillier; Cinematography: Jonathan Ricquebourg; Steadicam: Florian Berthellot; Color Grading: Christophe Bousquet; Voice Recording: Benjamin Silvestre; Sound Editing: Jean Mallet; Sound Mixing: Mélissa Petitjean; Set Design: Arsène Filliatreau; Costumes: Nina Avramovic; Stage manager: Pauline Hussong; Co-production: Opéra national de Paris / Les Films Pelléas; Executive production: Balthus; Production manager: Camille Boulay; Production administrator: Benjamin Pasquier

Degas et moi 5 - OnP _ LFP ©Cécile Burban

Degas et moi

Bringing together Michael Lonsdale, Bastien Vivès and Daniel Larrieu, film director Arnaud des Pallières dedicates a short film to Edgar Degas, a movie about dance and painting that also unveils the darker side of the artist.&nbsp; &nbsp; &nbsp;&nbsp

Arnaud des Pallières

Film director Apichatpong Weerasethakul - Palme d’Or at the Cannes Film Festival in 2010 for his film “Uncle Boonmee, Who Can Recall His Past Lives” - joins the 3e Scène with his new work, “Blue”, filmed during 12 nights in the heart of the Thai forest. A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia.&nbsp;&nbsp;Director: Apichatpong Weerasethakul; Director of Photography: Chatchai Suban; Camera Assistant: Thanayos Roopkhajorn; Production Team: Kasame Tidnaur, Somporn Ruensai, Sam Heung, Laong Lungsam, Sita Kiatneramit; Catering: Chaisiri Jiwarangsan; Sound Engineer: Akritchalerm Kalayanamitr; Mixing: Kantana Sound Studio, Bangkok; Editing: Apichatpong Weerasethakul; Digital Lab: White Light Post Co., Ltd.; Post-production management: Lee Chatametikool; Post-production manager: Nonthachan Prakobsup; Color grading: Chaitawat Thrisansri; Digital conforming: Harin Paesongthai, Benjawan Piyaratanawong; Special effects: Nathamon Thatthanakan; Production: Opéra national de Paris / Les Films Pelléas; Executive production: Anna Sanders Films

Blue

Film director Apichatpong Weerasethakul - Palme d’Or at the Cannes Film Festival in 2010 for his film “Uncle Boonmee, Who Can Recall His Past Lives” - joins the 3e Scène with his new work, “Blue”, filmed during 12 nights in the heart of the Thai fore

Apichatpong Weerasethakul

The Krump dance was born in Los Angeles ghettos after the 1995 riots. Clément Cogitore creates a battle between urban culture and Rameau’s music on the Bastille Opera stage.  Director: Clément Cogitore; Choreographers: Bahim Rachiki, Igor Caruge aka Grichka, Bintou Dembele; Dancers: Strange Bangers, Madrootz, Monsta NY Madness, Real underground, X2Buck; Music: Jean-Philippe Rameau “Les Indes galantes: Les Sauvages”; Arrangement: Coco Josua / Mozarf, Thomas Deborde, Arnaud Toulon; Casting director: Mohamed Belhamar; Director of photography: Sylvain Verdet; Camera operator: Nicolas Eveilleau; Sound engineer: Paul Guilloteau; Stage manager: Alexandre Quillet; Video editing: Félix Rehm; Sound editing: Antoine Bertucci; Mixing: Tristan Lhomme; Color grading: Laurent Ripoll; Set photographer: Carl Labrosse; Production assistant: Julia Maraval; Production: Les Films Pelléas

INDESGALANTES_2

Les Indes galantes

The Krump dance was born in Los Angeles ghettos after the 1995 riots. Clément Cogitore creates a battle between urban culture and Rameau’s music on the Bastille Opera stage.   Director: Clément Cogitore; Choreographers: Bahim Rachiki, Igor Caruge aka

Clément Cogitore

The light is in chiaroscuro. The stage is naked. The room is empty. Hallways are deserted. Two gypsies. Reals singers. Two parallel stories: the gypsy and the singers’ auditions. The combination of two worlds through opera singing. A visual and acoustic universe. No matter what the lyric say, the imagination commands.&nbsp;&nbsp;Director: Fanny Ardant; Producers: Baudouin du Sartel, Saneyuki Watanabe, Adrien Jolivet; Script Supervisor: Noellie Maugard; Casting Director: Mohamed Belhamar; Director of Photography: Thomas Migevant; Chief Electrician: Germain Calvignac; Chief Stagehand: Sébastien Demarigny; Sound Engineer: Pierre Tucat; Stage manager: Thomas Pascual; Head makeup artist: Amélie Javegny; Head costume designer: Camille Nogues; Head prop master: Denoual Rouaud; Set photographer: Carl Labrosse; Head editor: Chantal Hymans; Head sound editor: Antoine Bertucci; Sound mixing: Tristan Lhomme; Color grading: Laurent Ripoll; Production: Les Films Pelléas

"Magie noire" de Fanny Ardant

Magie noire

The light is in chiaroscuro.The stage is naked.The room is empty.Hallways are deserted.Two gypsies.Reals singers.Two parallel stories: the gypsy and the singers’ auditions. The combination of two worlds through opera singing. A visual and acoustic un

Fanny Ardant

Can one « learn » grace? Can grace be crafted (and how)? I’ve always had these questions in me somehow or rather the desire to look for, to watch, to grasp, maybe, part of this secret if it does exist. Films are made to capture mysteries - to get a little closer to the endless complexity, the never ending beauty of what it is to be human. As an actress, I’ve often witnessed the tiniest most wonderful surprises on the faces of actors / fellow artists I had been working with once a film was over. We had gone through scenes together - many times so close to each other - our skins were touching… and yet the camera had « stolen » something of our characters that we hadn’t known was there. « Close-ups » reveal what we cannot control - a little bit of our souls I’ve only ever known « dance » as a spectator - watched dancers from a distance. They move me, impress me, fascinate me all the more for it.How does one experience - such a tangible/physical transformation - from nature to culture? How does anyone prepare for such an adventure? The central question of my film is a contradiction I’ve always cherished: all forms of art raise it but dance, I feel, exposes it more impressively, more sensationally than any of them. Is to create to master the inexplicable? A repetition of the elusive? As I observed the « dancers to be » training in the ballet school of the Opera de Paris I started dreaming of a film that would leave out of frame the bodies that these girls and boys tame everyday - that would leave out of frame what was meant to be in the spotlight - made magical by tireless countless training hours. I started dreaming of a film that would somehow only concentrate on their faces, that would put « close ups » at the service of this quest, this path towards grace - allowing an intimacy with dance that the two other scenes of the Paris Opera cannot give to their audience - I wanted to watch what happened in their eyes as they embarked on that journey hoping I’d maybe grasp just a little bit of that one mystery…  Director: Clémence Poésy; Dancers: Students of the Paris Opera Ballet School; Voice: Michaël Denard; Original music: Joakim; Piano accompaniment and improvisation: Claire Djourado; Production: Priscilla Bertin, Elisa Larriere, Judith Nora; Director of photography: Joe Russell; Additional filming: Julie Conte; Editing: Raphaëlle Martin-Hölger; Sound and mixing: David Amsalem; Color grading: Yann Masson; Production manager: Vincent Roullet; Production administration: Raphaël Escalona; Production assistant: Cécile Aubert; Production: Silex Films / Paris Opera Ballet

Poesy - a bouts portés

3e Scène

A bout portés

Can one « learn » grace? Can grace be crafted (and how)? I’ve always had these questions in me somehow or rather the desire to look for, to watch, to grasp, maybe, part of this secret if it does exist. Films are made to capture mysteries - to get a l

Clémence Poésy

Whether he exhibits outside on a public square in Bordeaux and in the gardens of the castle of Versailles, or in museums from Paris to Tokyo, visual artist Xavier Veilhan is a master of staging. It is therefore unsurprising that he has seized the opportunity to freely explore the two monuments of the performing arts that constitute the Paris Opera. In his film “Matching numbers”, Xavier Veilhan unites these two geographically and stylistically distant entities through a cinematographic ellipse which breaks free from spatial logic, and builds new bridges between the Opera and the outside world. To a hypnotic score by Zombie Zombie, the artist creates a dream-like universe in which unusual objects and characters enter the Opera, move about, float, run, wade, pivot, dance on bikes… Instead of focusing on the performances on stage, he captures the spectacle of the architecture, the different lights, machinery and its majestic technical games.   Director: Xavier Veilhan; Artistic collaboration: Alexis Bertrand; Production: Amélie Couillaud; Cinematography: Roman Hatala, Jean-Frédéric Etienne, Damien Bailly; Glider control: Jean-Louis Petit, Martine Petit, Henri Lecaye, Michel Dietlin; Post-production: Cadmos; Editing: Roman Hatala; Color grading: Tomasz Sobezak / Groupe Transatlantic; Music recording: Midilive studio; Sound mixing: Angy Laperdrix / Solaris Studio; Mastering: Chab / Translab; Production: Atelier Xavier Veilhan / Opéra national de Paris; Co-production: eXorde (Casoar collection); with the participation of Rallye Trois Forêt

"Matching Numbers" de Xavier Veilhan  - 1

Matching Numbers - Xavier Veilhan

Matching numbers

 Whether he exhibits outside on a public square in Bordeaux and in the gardens of the castle of Versailles, or in museums from Paris to Tokyo, visual artist Xavier Veilhan is a master of staging. It is therefore unsurprising that he has seized the op

Xavier Veilhan

The legendary Disney animator Glen Keane, who invented characters such as Ariel, Tarzan, Pocahontas and the Beast, perfectly remembers his first encounter with the Paris Opera : as he was sitting in a nearby café, he could not stop drawing “the most beautiful building I had ever laid eyes on”. Dancing has always inspired his art which circles around the creation of movement, and he was excited to lift the curtain and enter a world which seemed even more magical than the performances on stage. His film “Nephtali”, which refers to Jacob’s blessings and Psalm 42, was born from the comparison between the grace of a dancer and that of a deer. In a choreography which Glen created with Marion Barbeau, he depicts the journey of a soul that is drawn towards a higher power, fights a struggle and is eventually liberated. By using both film and drawing, Glen Keane and Marion Barbeau manage to overcome the constraints of gravity and attain the freedom towards which a dancer’s body and spirit always aspire.&nbsp;&nbsp; Director &amp; animator: Glen Keane; Live Action Director: Benoît Philippon; Producer: Gennie Rim; Production and Post-Production Manager: Lucie Bolze; Director of Photography: Alexandre d'Audiffret; Art Director: Max Keane; Chief Editor: Charlotte Rembauville; Original Music: Arnaud Vernet Le Naun; Colorist: Edouard Koen; Camera Assistant: William Oger; Sound Engineer: Jérémie Vernerey; Animation Intervalists: Phillip Vigil, Emily Jiuliano; Animation Production Coordinator: Katie Smith; Vocals: Lorraine Prigent; Post-Production Sound Engineer: James Rim; Executive Production, Paris Filming: Daktirak; Image Post-Production: Circus

Nephtali © Glen Keane

Nephtali - Glen Keane

Nephtali

The legendary Disney animator Glen Keane, who invented characters such as Ariel, Tarzan, Pocahontas and the Beast, perfectly remembers his first encounter with the Paris Opera : as he was sitting in a nearby café, he could not stop drawing “the most 

Glen Keane

With a poetic approach, Carine Brancowitz likes to represent the grace of youth in her drawings. While she wandered through the corridors of the Palais Garnier and the Opera Bastille, which she considers to be a very apt playground for her work, she was struck by the contrast between the flamboyance and symbolic greatness of the buildings and “this youthful fauna that occupies them, works ardently, almost religiously, with absolute rigour and devotion” : the young dancers of the Paris Opera Ballet. Inspired by Greek temple friezes, Carine Brancowitz elaborated a nine-metre drawing which captures the intimacy and simple everyday life of young dancers who prepare for their morning class. This work, which is accompanied by a mixture of backstage noises and more personal creations, oscillates between reality and imagination and expresses languor, infinity, and the suspension of time.&nbsp; &nbsp;Director: Carine Brancowitz; Sound mixing: Angelo Cesconi; Post-production: Guillaume Delaperriere Studio; Original artwork: Carine Brancowitz

Carine Brancowitz - Intermezzo

intermezzo

Intermezzo

With a poetic approach, Carine Brancowitz likes to represent the grace of youth in her drawings. While she wandered through the corridors of the Palais Garnier and the Opera Bastille, which she considers to be a very apt playground for her work, she 

Carine Brancowitz

The film Patterns of Life by Julien Prévieux has been produced by the Galerie Jousse Entreprise, Paris. (Coproduction: Anna Sanders Films, 3éme Scène de l'Opéra national de Paris, Nanterre-Amandiers / Centre dramatique national). This film was made for Julien Previeux's solo show at the Centre Georges Pompidou, from 22 September 2015 to I February 2016.Whichever medium he uses, Julien Prévieux, laureate of the Marcel Duchamp Prize 2014, has been interested in movement for a certain time. In his film “What shall we do next ?”, gestures that have been copyrighted by companies, especially for the use of future electronic devices, are interpreted like choreographic instructions.The Paris Opera’s invitation to participate in the “3e Scène” allowed him to pursue this train of thought with a group of exceptional dancers. His film “Patterns of life” deals with the ways in which movements have been recorded and measured since the photographs which visualised human motion in the late 19th century, with the help of points of light that were attached to the body. In six different settings, five dancers of the Paris Opera Ballet execute choreographies starting from protocols and scientific results, while a voice-over alludes to the economic, military and political context of each experience.&nbsp;&nbsp; Director: Julien Prévieux; Production: Galerie Jousse Entreprise; Executive Producer: Anna Sanders Films; Co-production: Anna Sanders Films / 3e Scène de l'Opéra national de Paris / Nanterre-Amandiers / Centre dramatique national; Screenplay: Grégoire Chamayou, Julien Prévieux; Voice: Crystal Shepherd Cross; Production manager (filming): Michaël Berreby; Production manager (post-production): Tiana Mille; Director of photography: Rémi Mestre; Chief electrician: Josselin Delas; Chief stagehand: Paul Ghafoorian; Sound engineer: Bruno Ehlinger; Production managers: Marine Bernier, Cindy Gibier, Cédric Marie; Production designer: Gaël Leroux; Set builder: Mathieu Botrel; Stylists: Gwladys Duthil, Charlotte Winter; Makeup artist: Karima Hemayani; Animal trainer: Georges Poirier; Film editing: Aël Dallier-Vega; Color grading: Thibaut Petillon; Technical director: Jean-Philippe Badoui; Sound editing/mixing: Bruno Ehlinger; Translation: Norbert Naigeon; with the participation of the Centre National des Arts Plastiques and the DICRéAM - CNC (Centre national du cinéma et de l'image animée)

Julien Prévieux - Film

Patterns of life

The film Patterns of Life by Julien Prévieux has been produced by the Galerie Jousse Entreprise, Paris. (Coproduction: Anna Sanders Films, 3éme Scène de l'Opéra national de Paris, Nanterre-Amandiers / Centre dramatique national). This film was made f

Julien  Prévieux

The film director Wendy Morgan has shot numerous videos for well-known musicians and clients in which dance, an art form that she loves, plays an important role. The Paris Opera’s proposal to contribute to the “3e Scène” has given her the exciting opportunity to work again with the American dancer Lil Buck. In “Étoiles, I see you”, Wendy Morgan transposed this star of “street dance”, who is famous for his adaptation of “The Dying Swan”, into one of the most history-laden temples of classical ballet worldwide. Thanks to his commanding presence, this extraordinary performer not only stands his ground there, but the artworks of the past seem to communicate with him. His movements, look and style find unexpected counterparts in the sculptures and paintings of the Palais Garnier. Wendy Morgan’s film captures the beauty of these different art forms which transcends time, but it also conserves a note of lightness and humour that corresponds to her subject’s personality.&nbsp;&nbsp;Director: Wendy Morgan; Music: CHANNELS of ENERGY (Antonio Sanchez); Producer: Amélie Couillaud; Director of Photography: Sylvestre Dedise; Additional Photography: Merlin Pardo; Chief Electrician: Kevin Ramalho; Sound Engineer: Silvino Guarda Becerra; Stage Managers: Solen Wanono, Etienne Grandon; Post-production: Firm Studio / Manuel Béard; Editing: Camille Guyot; Color grading: Nicolas Gautier; Production: eXorde (Casoar Collection) for the Paris Opera

Wendy Morgan  - Etoiles, I see you

Etoiles, I see you

The film director Wendy Morgan has shot numerous videos for well-known musicians and clients in which dance, an art form that she loves, plays an important role. The Paris Opera’s proposal to contribute to the “3e Scène” has given her the exciting op

Wendy Morgan

Loren Denis, film director, photographer and fashion model, likes to find herself on both sides of the camera. For her, the Paris Opera has always been a magical, prestigious and appealing place, and dance is the incarnation of some kind of “ultimate poetry”. When she was invited to participate in the “3e Scène”, she jumped at this occasion to go through the looking glass: she wished to explore the hidden corners of the Palais Garnier and Opéra Bastille and bring together these two buildings which, in spite of their different aesthetic, have a common soul. In cooperation with her co-screenwriter Anthony Vibert, she invented a poetic reverse alphabet, tongue-in-cheek and with a hint of humour, an unusual entry point into the universe of the Opera. It allows the spectator to discover dancers, singers, musicians, but also people and places that are invisible to the audience, such as the numerous workshops where sets, costumes and props are manufactured with exceptional craftsmanship.&nbsp;&nbsp;Written by: Loren Denis, Anthony Vibert; Voice: Anthony Vibert; Director of photography: Sylvestre Dedise; Editing: Maxime Pozzi-Garcia; Color grading: Anne Szymkowiak; Music: Avia; Sound design: Studio 64; Production: Les Fils De; Producer: Benjamin Duval; Line Producer: Maxime Brun; Production Manager: Guillaume Pennec; Electrician: Kevin Ramalho; Sound Engineer: Nino Guarda Becerra; Stage Manager: Etienne Grandon; Post-production: Firm Studio; Post-production Manager: Manuel Béard

Loren Denis - O comme Opéra

O comme Opéra

Loren Denis, film director, photographer and fashion model, likes to find herself on both sides of the camera. For her, the Paris Opera has always been a magical, prestigious and appealing place, and dance is the incarnation of some kind of “ultimate

Loren Denis

The artist Karim Zeriahen has often filmed dance and worked with renowned choreographers. His project for the “3e Scène” is his first cooperation with the Paris Opera. His film is based on the idea that the present continuously feeds on the past. Karim Zeriahen focused on two works that were premiered by the Ballets Russes in Paris at the beginning of the 20th century. In “L’Après-midi d’un Faune”, the encounter between Rudolf Nureyev’s mythical and masterly interpretation of Nijinsky’s faun and the utterly fresh approach of François Alu, a young dancer who discovers the role for the first time, creates a new story. This sensual solo is complemented by a playful duo of muses from George Balanchine’s “Apollon Musagète” with the Paris Opera’s Étoiles Dorothée Gilbert and Myriam Ould-Braham. The films illustrate the continuity and constant renewal in the history of ballet : by learning choreographies that have been interpreted by generations of other artists, dancers create something new, personal and topical.&nbsp;Director: Karim Zeriahen; Choreography: Vaslav Nijinsky; Music: Claude Debussy; Dancer in archives: Rudolf Nureyev; Rehearsals: Ghislaine Thesmar; Director of photography: Alexandre d'Audiffret; Editing: Karim Zeriahen; Production manager: Delphine Rodet; Stage manager: Fabrice Godin; Sound engineer: Miguel Dias; Colorist: Robin Risser; Post-production: Firm studio&nbsp;

Karim Zeriahen - Héritages: L'après-midi d'un Faune / Apollon

L'après-midi d'un faune

The artist Karim Zeriahen has often filmed dance and worked with renowned choreographers. His project for the “3e Scène” is his first cooperation with the Paris Opera. His film is based on the idea that the present continuously feeds on the past. Kar

Karim Zeriahen

The film director Arnaud Uyttenhove has authored a documentary on the photographer Alec Soth, “Somewhere to disappear” (2011). As he felt deeply attracted to dance without really knowing this universe, he was fascinated by the idea of lingering with his camera in the historic buildings of the Paris Opera which were a source of inspiration for him. His film “Laura” tells the story of a young dancer of the Paris Opera Ballet, Laura Bachman, and of her inner conflict : even though she is part of one of the best dance companies in the world, she questions her future and her vocation to become a classical dancer. By slipping from the documentary towards a more oneiric atmosphere which comes close to the aesthetic of video clips, Arnaud Uyttenhove juxtaposes the reality of a dancer’s daily life far from the glamour of the performance on stage to the phantasm of ballet and the state of transcendence which she can attain by expressing herself through dance.&nbsp; &nbsp; Director: Arnaud Uyttenhove; Director of photography: Daniel Bouquet; Sound engineers: Yann Ruffieux, Franck Weber; Head makeup artist/stylist: Julie Brones; Production: Caviar Paris; Producer: Florence Jacob; Production manager: Melody Calmels; Production coordinator/assistant director: Montaine Lambert; Personal assistant to the director: Emmanuelle George; Music: Jean Waterlot; Music rights: Bonus Track, Stéphanie Giraud; Post-production: Nightshift; Chief editor: Benjamin Favreul; Colorist: Mathieu Caplanne; Post-production manager: Olivia Farges; Post-producers: Stéphanie Dubois, Geraldine Israel; Post-production: Caviar Brussels; Executive post-production producer: Andreas Hasle; Post-producer: Dominique Rhuys; Dialogue editing and final mix: Sonicville

Arnaud Uyttenhove - Laura

Laura

The film director Arnaud Uyttenhove has authored a documentary on the photographer Alec Soth, “Somewhere to disappear” (2011).As he felt deeply attracted to dance without really knowing this universe, he was fascinated by the idea of lingering with h