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.

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.       

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;

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.&nbsp;&nbsp;

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.&nbsp;&nbsp; 

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;

"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

Jafar Panahi (winner of the 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 Festival

Hidden - 3

Hidden

Hidden - French version

Jafar Panahi (winner of the 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 “experie

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

Hidden (French version)

Hidden - English version

Hidden (English version)

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…

Poesy - a bouts portés

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

"I've already filmed the Garnier Opera and dance in my film Main dans la main. For this carte blanche, I wanted to explore something else and try a different form of cinema combining the immobility of pictures and the movement of film, by writing first with sound. Direct, very realistic sound. I also wanted to mix the materials, to confront the digital and the Super 8.I did not know Jonas Kaufmann before meeting him for Suivez donc la mesure. I found it interesting to portray one of the world's most famous tenors, without knowing him. When I first heard his voice, I decided that sound would be the narrative thread of the film and I decided to edit the sound first and then the images. Jonas Kaufmann is always moving, so I followed him. Hence this intimate portrait of a man, his trips, his outstanding work which makes art emerge from technique; from the subway to the stage." Valérie Donzelli

"Suivez donc la mesure" de Valérie Donzelli  - 1

SUIVEZ DONC LA MESURE - donzelli

Suivez donc la mesure

"I've already filmed the Garnier Opera and dance in my film Main dans la main. For this carte blanche, I wanted to explore something else and try a different form of cinema combining the immobility of pictures and the movement of film, by writing fir

Valérie Donzelli

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.

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

When the great names of cinema take hold of the universe of the Paris Opera, the result is striking. Fany Ardant, Rebecca Zlotowski, Jafar Panahi, Apichatpong Weerasethakul, and many others invite you on a journey blending dance, music, and cinematic storytelling.

When the great names of cinema take hold of the universe of the Paris Opera, the result is striking. Fany Ardant, Rebecca Zlotowski, Jafar Panahi, Api