Stéphane Lissner, director of the Paris Opera, entrusts the staging of the opera-ballet Les Indes galantes to the visual artist Clément Cogitore.  Based on the experience of his short film Les Indes galantes, the artist updates Jean-Philippe Rameau's baroque masterpiece (1735) by bringing together lyric song and urban dance.  The choreography is entrusted to Bintou Dembélé who supervises dancers from krump, popping, voguing or even experimental hip hop.  From rehearsals to the Premiere, Philippe Béziat films the meeting of urban dancers with the lyric institution and invites the spectator to share a human and artistic experience.

Gallant Indies

In 1982, Wim Wenders asked 16 of his fellow directors to speak on the future of cinema, resulting in the film Room 666. Now, 40 years later, in Cannes, director Lubna Playoust asks Wim Wenders himself and a new generation of filmmakers (James Gray, Rebecca Zlotowski, Claire Denis, Olivier Assayas, Nadav Lapid, Asghar Farhadi, Alice Rohrwacher and more) the same question: “is cinema a language about to get lost, an art about to die?”

Room 999

Afganistan'da bir görevdeyken, Fransız kaptan Antarès Bonassieu'nun adamları açıklama yapmadan birer birer kaybolmaya başlar.

Ne Yerde Ne Gökte

Otuz dört yaşındaki Ramsès, Paris’in La Goutte d’Or semtinde kendini medyum olarak kabul ettirmiştir. Kurnaz bir manipülatör ve bir bakıma şiirsel bir ruha sahip olan Ramsès, acı çeken insanlara teselli sunarak kurduğu işini sağlam temeller üzerine oturtmuştur. Yalanlarla örülmüş bu sahte umut dünyasında, mahallelinin güvenini kazanmış; hem kârını büyütmüş hem de kendine bir yer edinmiştir. Ancak her şey, Tanca sokaklarından yeni gelen, başıboş ve tehlikeli bir grup gençle değişir. Bu gençler sadece Ramsès’in müşterilerini değil, tüm mahallenin dengelerini de altüst eder. Ramsès’in kurduğu kırılgan düzen hızla çökmeye başlar. Ne kelimeleri ne de taktikleri bu yeni tehdide karşı işe yaramaktadır. Tam her şeyin çöktüğü anda, Ramsès ilk kez gerçek bir görü yaşar - bu kez ne numara ne aldatmaca. Bu beklenmedik ve sarsıcı olay, onun hayatını tamamen değiştirir. Artık sadece hayatta kalmak değil, inandığı her şeyi yeniden sorgulamak zorundadır.

Altın Kadeh

In the middle of the Siberian taiga, 450 miles from the nearest village, live two families : the Braguines and the Kilines. Not a single road leads there. A long trip on the Ienissei River, first by boat, then by helicopter, is the only way to reach Braguino. Self-sufficient, both families live there according to their own rules and principles. In the middle of the village: a barrier. The two families refuse to speak. In the river sits an island, where another community is being built : that of the children. Free, unpredictable, wild. Stemming from the fear of the other, that of wild beasts, and the joy procured by the immensity of the forest, unravels a cruel tale in which tensions and fear give shape to the geography of an ancestral conflict.

Braguino

Les Indes Galantes (The amorous indies), is an opera-ballet created by Jean Philippe Rameau in 1735. He was inspired for one of the dance by tribal Indian dances of Louisiana performed by Metchigaema chiefs, in Paris in 1723. Clément Cogitore adapts a short part of the ballet by mobilizing a group of Krump dancers, an art form born in Los Angeles black ghetto in the 1990s. Its birth occurred in the aftermath of the beating up of Rodney King and the riots, as well as police repression it triggered. Amidst this coercive atmosphere, young dancers started to embody the violent tensions of the physical, social and political body. Both the tribal dance performed in Paris in 1723, and the rebelious Krump dancers of the 1990s shape a reenactment of Rameau’s original libretto, staging young people dancing on the verge of a volcano.