“LE SAVOIR-FAIRE” by The Stimuleye, a film for Jean-Paul Lespagnard’s #1/2015 collection,
with music by TEPR.

A THE STIMULEYE PRODUCTION
directed by Antoine Asseraf
filmed & edited by Thibault Della Gaspera
interviews Filep Motwary
coordination Clementine Colson
sound design Ça Va Chéri

International Fashion & Photography Festival 2013
Hyères – Teaser

April 26 – 29, 2013
Villa Noailles, Hyères

http://www.villanoailles-hyeres.com/2013/

Film by Antoine Asseraf & René Habermacher
starring Suzanne von Aichinger
as Marie Laure de Noailles

Styling by Suzanne von Aichinger
assisted by Simon Gensowski & Laure Grandon

Hair by Panos Papandrianos @ CLM UK
Make-up by Min Kim @ Airport Agency

Sound design by Ca Va Cheri

The headmistress unleashes the beast: Ariane Labed, French but Athens-born actress known from "Attenberg" 
and her favourite: Bekos, the beehive-tressed star-goat. Photo by René Habermacher

A sphinx above Hydra: Ariane Labed in midday heat on the terrasse of Tombazis manor. Photo by René Habermacher.

Between fortified walls of the mansion, shadows of the past and present terror of besetting obsessions:
young actresses Isolda Dychauk, Aurora Marion and crawling: Evangelia Randou. Photos by René Habermacher

Clémence Poésy in expectation of the headmistress. Photos by René Habermacher.

Routine at the boarding house: The line-up of disciples, top right Evangelia Randou, lower right: Sofia Dona.

Clémence Poésy confesses: "J’ai eu envie de mettre des bris de verre dans les chaussures d’Isolda." 
while her dominatrix is about to get more creative with punishments. Photo by René Habermacher.

Ariane at the onset of darkness, wearing a micro-robotic geared gown by Canadian designer Ying Gao,
for which Bekos the goat developed an immense appetite. Photo by René Habermacher.

One of Bekos's caprices: an endless hunger for attention, and bits and bites of the costumes. Photo by René Habermacher.

Posters for The Capsule: Design by Ania Goszczyńska with artwork of Aleksandra Waliszewska

The Stimuleye presents “Hanaa”, a film by Antoine Asseraf & René Habermacher, starring Tunisian model Hanaa Ben Abdesslem, spokesperson for Lancôme.

Antoine Asseraf: Where are you from, and how were you discovered ?

Hanaa Ben Abdesslem: I was raised in a town on the sea coast of Tunisia named Nabeul. 
I dreamed of becoming a model since I was very young.

In 2009, I participated in a reality TV show for models in Lebanon.  There I met Sophie GalaI, who would become my manager, and in 2010 she presented me to IMG Paris, who in turn presented me to Carine Roitfeld, at the time Editor-in-Chief of Vogue Paris.

Through her introduction to Ricardo Tisci , I was chosen as a Givenchy fashion show exclusive that same season.
   
AA: You’re becoming an icon representing the “middle-eastern woman” in the fashion world and beyond,
but which people are icons to you ? Can you tell us a bit about your relationship with Farida Khelfa ?

My icons are the Tunisian women in the fashion industry, whom I admire and whose accomplishments I respect, such as Liela Menshari, Hermes window designer — she received the Golden Dido Award for her contribution to Tunisian culture and influences in world, and Afef Jenifen, who fought for Arab women’s freedom of choice and continues to defend their rights.

Farida is a great support and she always has good advice, such as “stay true to yourself.”

HANAA
a film by Antoine Asseraf & René Habermacher
starring Hanaa Ben Abdesslem
styling Yoko Miyake
hair Nicolas Eldin
make up Tracey Gray Mann
production by Clast
postproduction by The Stimuleye
text by Omar Khayyam
sound by Gnawa Diffusion
thanks Sophie Gallal

Look 1: Dolce & Gabbana
Look 2: Jil Sander by Raf Simons
Look 3: Chloé
Look 4: Stella McCartney

The Stimuleye is proud to announce its Film of the Season™ for Vogue Italia,
its first full collaboration with CLAST productions,
a special commission for curvy clothing line For.me Elena Miro,
Princess Cornflakes.

Princess Cornflakes / ENGLISH VERSION

PRINCESS CORNFLAKES (English) from AntoineAsseraf+RenéHabermacher on Vimeo.

Princess Cornflakes / VERSION FRANÇAISE

PRINCESS CORNFLAKES (Français) from AntoineAsseraf+RenéHabermacher on Vimeo.

CREDITS:

VOGUE ITALIA
THE STIMULEYE
& CLAST
present

a film by ANTOINE ASSERAF & RENE HABERMACHER

for
FOR.ME Elena Miro

produced by
CLAST

commissioned by
VOGUE ITALIA

the models
MILLIE H & TANYA @ MILK

the kids
BOBBI JADE
THEODORE WALKER
AYLA RAYNE MONIER

the hands & feet
TALINE MOURADIAN

the Mom
ANGELA PAREE

la maman
TALINE MOURADIAN

extras
MARC BEYNEY-SONIER
JUSTIN MORIN
GIORGIO MARTINOLI
BENJAMIN BERNARD

camera assistants
LAURENT DUBIN
HIROAKI “Jack” MURAYAMA

hair
MAXIME MACE @ Calliste Paris

assisted by
JÉRÔME CULTRERA

make-up
TRACEY GRAY MANN @ Calliste Paris

manucure
CRISTINA CONRAD @ Calliste Paris

styling
ROSSANA PASSALACQUA
@ ARTLIST PARIS

all clothes
FOR.ME ELENA MIRO

shoes
CARVEN

jewelry
AURELIE BIDERMAN

polish
DIORIFIC 751 MARILYN

cups
JARS x EROTOKRITOS

cereal box & graphic design
GIORGIO MARTINOLI

italian voices
CLARA SALLAZ
ELISA SCIALPI
FILIPPO LAVACCHINI

sound recorder
ARNAUD MORELDARLEUX

original music
Ça Va Chéri

sound mix & sound design
Sparkles Studio

editor
Romain Gopal
color grading
Romain Julien

special fx
LAURA WEAVER
MARTIN CLAUDE

producers
MAUD HEZARD
FÉLIX MONDINO

production coordinator
MARC BEYNEY-SONIER

stage manager
JEAN DATHANAT

shot at
UNICO RESTAURANT
FRANCE MINIATURE

thanks
DIMITRI “JIMI” PALLIS
LYNSEY PEISIGNER
EROTOKRITOS ANTONIADIS
LUCA MARCHETTI
GIORGIO MARTINOLI
TALINE MOURADIAN
PAOLA NETTI
CHANTAL HOOGVLIET
RESTAURANT UNICO
FRANCE MINIATURE
LUCAS BLANCHY
JÉRÔME DE GERLACHE
ELISA MAZZA

More to come…

“HE KNOWS WOMEN, AND WOMEN KNOW HIM”

Erotokritos, it’s a strange name for a fashion brand.
It’s an even stranger name for a person.
And yet, he is truly called Erotokritos Antoniadis, named after the main protagonist of medieval epic poem, a hero “born from the labors of love”.
For 15 years, his label has been seducing women of all ages, drawn to collections that go back and forth between the sophistication of Paris and the dolce vita of Cyprus…

"come and get it."

“THEY CALL HIM MONSIEUR CHYPRE”

France and Cyprus, Paris and Nicosia, it’s a long-distance couple.
In Monsieur Chypre, by Antoine Asseraf & René Habermacher, they come to life:
Loan Chabanol, channeling the nostalgia of Marguerite Duras’ The Lover, plays the tormented Parisian woman, cracking at the surface,
while Constantino Kouyialis, in his first first on-screen role, is a revelation as the seductive eponym hero, a modern day Alexis Zorbas.

“AN EROTIC FASHION EPIC” we call it.

“Erotic,” how could it not be with a name like Erotokritos ?
“Fashion,” of course: stylist Michaela Dosamantes, fresh from winning Best Fashion Award at La Jolla Fashion Film Festival for La Main Dans Le Sac, mixes the season’s classic looks to capture the heroine’s transformation from “bluesy” in Vuitton to “red-hot” in Valentino.
And “epic” ? What else do you call a fashion film 10 months in the making, taking place not only in Paris but in numerous locations in Nicosia, in the salt lake facing the Hala Sultan Tekke mosque in Larnaca, in the Almyra and Anassa deluxe hotels, in small taverns by the side of the road, or in the majestic monument carved directed in the stone, the tomb of the Kings in Paphos ?

“HIS VOICE IS A SONG”

All this, to the original soundtrack of Lori Schonberg and Shane Aspegren, members of Ça Va Chéri.
(Download it here).

So, now the tough questions.
Is Cyprus really like this ? A little bit. Not at all. It depends how you look at it.
It is an island of freedom in the east mediterranean, where couples from Israel and Lebanon come to escape religion. It is the birthplace of Aphrodite. You go, you decide.

So how can I meet this Mister Cyprus ? We hear that one a lot. From women (and men) of all ages. Maybe he’s real, maybe he’s a figment of our collective imagination, our repressed desires. One thing’s for sure — we can’t give you his number.

“ATTEMPTING TO CHARM HIM IS USELESS. HE IS THE ONE WHO WILL FIND.”

Monsieur Chypre
Film credits
Fashion credits
Goodies

Interview by Filep Motwary & Antoine Asseraf.

Benjamin Esser by Filep Motwary.

Since the release of your debut album back in 2009, what are the changes to the way you perceive your own music, and how it has evolved?

Benjamin Esser: I think the beauty in first records is naivety, which you can never regain.
But I feel a lot less pressure in a lot of ways with this second one, there’s a confidence that means I can let the music take its time.
I think people might immediately assume that I ‘discovered’ a whole genre of music that I’d never listened to before. But that’s not true, I’ve always been into bands like Cluster, Tones on Tail, Suicide, Add N To X (mixtape – coming soon!)…

What is inspiration for you ? Do you consider yourself as eccentric?

I find inspiration in repetition.
Inspiration for me isn’t about looking outwards its about looking further inwards – into the core of things.
No I definitely wouldn’t say I’m an eccentric, I guess I have my own ways of doing things. But everyone does.

People would tell you my views on organization and timekeeping are fairly abstract. I strongly disagree.

ESSER performing at Hyères 2012 Fashion & Photo Festival, with Stage of the Art.

What are you looking for in music? And how do you measure success?

I’m looking for complete submergence.

What does it mean to you to have an image change, beyond the need to convey a change musically?
Do you care about fashion or style?

Well I completely agree with artists like David Bowie. His concept of reinvention was incredible and the conceptual way he approached his records is a big influence for me.

Of course the amazing thing about fashion is anyone can become whoever they want to be – I could be a different person by tomorrow.

ESSER performing at Hyères 2012 Fashion & Photography Festival, by René Habermacher.

How is it to work with your wife – when she’s directing you around, when she’s making videos for other music acts or when you’re the one scoring her films?

I like it.
People always asume that you can’t be objective if you’re working with someone close to you, but I think it’s the complete opposite. We work together constantly actually and I’ll always ask her opinion on whatever I’m doing and vice-versa.
In fact we’re the only ones that can give each other honest opinions because we know each other so well.

As far as working on music for her films, she always has a really strong idea about what she wants. Which is great. It’s often a reinterpretation of a song (“I want muscle,” Donna Summers). So it’s always satisfying to do that.

What is the last thing that stimulated you?
Charles and Ray Eames.

COMING SOON : II : Elisha.

ESSER, ENMITY on Green United Music.

Thank you: Laurence Alvart, Pierre LeNy.

Cypriot countryside. By Antoine Asseraf & René Habermacher.

"Come and get it". By Antoine Asseraf & René Habermacher.

Hala Sultan Tekke / Larnaca. By Antoine Asseraf & René Habermacher.

Monsieur Chypre – A Short Film With Erotokritos

Vogue Italia

Starring Constantino Kouyialis & Loan Chabanol, styled by Michaela Dosamantes, and directed by Antoine Asseraf & René Habermacher.

Vogue Italia

Erotokritos

Norwegian Wood actress, Towai Tei-singer, and model Kiko Mizuhara lets us into her garden,
for Vivienne Tam.

MY GARDEN
a film by Antoine Asseraf & René Habermacher
for VIVIENNE TAM
starring KIKO MIZUHARA

concept
The Stimuleye

creative director
Hatsumi Yamada

production
Hiromi Otsuka
Flying Colors

postproduction
The Stimuleye

styling
Naoko Kikuchi

hair & make-up
Katsuya Kamo

First up: Marios Schwab and his dark yet summery, very Lana Del Rey, “Chiaroscuro” collection, starring himself alongside Amy Bailey, in Antoine Asseraf & René Habermacher’s CHIARA SKURA.

THE STIMULEYE
presents

A SHORT FILM WITH MARIOS SCHWAB

directed by
ANTOINE ASSERAF & RENE HABERMACHER

starring
AMY BAILEY

all clothes
MARIOS SCHWAB SS12

styling
CRISTINA GUERRERO VANACLOCHA

hair
BRADY LEA

make-up
LAURA DOMINIQUE

make-up assistant
JOEY CHOY

production
PABLO ROSADO
GEMMA GARNHAM
JADE TONG CUONG
RAQUEL ALBERTOS

photo Assistance
YU FUJIWARA

shot at
UNIT E

light equipment
BIG SKY LONDON

thanks to
RIKE DETSCHER
LINN FLORENTINSSON-HOLM
ALEX SHAH
ADAM SMITH & SKINFLICKS

ORIGINALLY PRODUCED
for
VOGUE ITALIA

Submit your 30 seconds maximum video before April 1st for a chance to have it featured in the installation, which launches April 27th at the 2012 Hyères Fashion + Photo Festival,  next exhibits by  Yohji Yamamoto, Jasons Evans, and Inez van Laamswerde + Vinoodh Matadin.

Imagine what lies beyond the wall of the PILLORY installation.

All submitted videos must be
no more than 30 seconds long,
from one angle/point of view,
and submitted before April 1st, 2012.

Fore more info and video guidelines: contest@thestimuleye.com

Introducing Ariane Labed in
ARIANE
an exclusive film by Justin Anderson,
in collaboration with THE STIMULEYE and Giorgio Armani,
and original pictures by René Habermacher.

 ARIANE, directed by Justin Anderson. Clothes - Giorgio Armani. Furniture - Armani Casa. Commissioned by THE STIMULEYE. 

Antoine Asseraf : Bonjour!

Ariane Labed:  Bonjour!

Are you currently in London ?

Yes, finally! I was supposed to move to London last September, but I’ve been moving around nonstop!

Do you often go back to Greece ?

I was in Greece in November to play with my troup VASISTAS, but now I’m more between Paris and London.

When did you first come to Greece, and what was your impression of the country at the time ?

I arrived in Greece 3 years ago, for a 9-month project of my troup with the National Theater of Athens, to put on a Faust.
I was born in Greece, lived there until I was 6, and I think I left part of my childhood there.

I dreamt of returning. When I met Argyro Chioti in college, a Greek theater director with whom we created the troup VASISTAS, I jumped onto the opportunity of going.

So instead of 9 months, I stayed for 3 years, meeting Athina [Rachel Tsangari] and Yorgos [Lanthimos] had something to do with hit.  Beyond a purely sentimental attachment to this country, I was impressed by all the artists I met and their urgent need to create. Without expectations of getting anything in return, beyond any judgement to which they could be subjected, beyond thinking about breaking even.

If I have just left, it’s only because I need to live in a country where I feel foreign, where I lose myself in the streets. That’s what I’m doing in London. The day where I won’t lose myself anymore, I will leave again.

But I will always return to Greece.

 Ariane Labed by René Habermacher.

The films of Yorgos Lanthimos and Athina Rachel Tsangari in which you starred have universal resonance, but we can nevertheless imagine that they come in a context, in reaction to precise things happening in Greek society: the influence of the Orthodox church (the impossibility of cremation), the need to break the myth of Greece as a postcard-perfect location (the desolate landscapes of Attenberg)…

As you said yourself the Greek audience doesn’t really support these films, and when reading the article in THE GUARDIAN regarding New Greek Cinema I found the comments left by the Greeks to be very virulent – do you think the films play a role in questioning Greek society ?

If Greeks have a difficulties situating themselves in films such as Dogtooth or Attenberg, it may be because they carry a truth about their country which hurts.

This young generation carries with them the failure of the previous generation, a generation who thought they offering through a notion of “progress”, and after the military dictatorship, a better life, without taking into account the contradictions of orthodox culture and the desire for revenge after several centuries of hardship when the Greek people were a strange gate to the East.

Being French, I love all these contradictions about Greece, but that is also where the complexity lies, and these are facets which the new generation denies or which the previous cannot accept.

What I also love in Greece is that it’s non-colonial, as luckily they could never afford to be colonial, but it is painful to see and hear the Greek racism against the recent wave of immigration. I think the Greeks are overwhelmed by a lot of things today, and it’s evidently linked to the government which “enjoyed” European aid for decades, including the Olympics of 2004.

Though all this is probably only the beginning of what is slowly happening all over Europe.

ATTENBERG by Rachel Athina Tsangari - Trailer. Best Actress award at 2010 Venice International festival.

The beautiful thing about this chaos is that, these artists, without means, who expect nothing from the government, find the strength to meet and trust each other enought to creat together.  That’s the case for HAOS, the production company created by Athina, which led to collaborations with Yorgos Lanthimos on DOGTOOTH and ALPS, and EMBROS, a new squat which just opened and brings together theater, danse, performance, critiques, writers, etc… Greek artists have never collaborated as much as they do today.

Of course the films of Athina [Rachel Tsangrai] and Yorgos [Lanthimos] carry and will continue to be denounced by a society which closes its eyes, much like other Western socities. That may be why they are recognized abroad but considered “weird” and barely tolerated in their home country.  The taboos touched upon in Attenberg – death, cremation, incestuous desire, lesbian sexuality, are topics on which one can hardly have a dialog in Greece.

But it is difficult for me to criticize Greece… Beyond the corruption of the government and the misery into which it has dragged the people, which I can intellectually denounce, there remains for me an unspeakable element, a vibration I feel only there. A chaos which I find appeasing.

 Ariane Labed by René Habermacher.

How did you live this experience of the “fashion film”, between actress and model, with Justin Anderson ?

I was quite reticent at first… but once I met Justin [Anderson] and he told me the concept, with the slow motion, I became quite excited. In the end it was a beautiful experience.

What are your current projects ? Can you tell me about your play with VASISTAS ?

The big news is that I’m about to shoot a film in France. The first film in my native tongue !

It took quite a while for people to figure out I’m French. My first 2 films, ATTENBERG and ALPS, are both in Greek, so everyone thought I was Greek. It doesn’t bother me at all, but really it’s quite a different exercise to play in a foreign tongue.

Congratulations. Are the plays with VASISTAS also in Greek ?

I’ve worked with my troup for 5 years now. We are 3 women: 1 Greek, 1 Mexican and myself. We met in college at Aix-en-Provence and created a troup. We work in different languages, centering on the body, on the impossibility of communicating with words. We don’t work from existing plays but rather from an editing of texts ranging from Deleuze to advertising… I play in French most of the time, but the text is there to relate to meaninglessness… My work is rather physical.

So it’s your own creations ?

Yes. The last show was called  “spectacle” [“show”]. www.vas.eu.com

This impossibility to communicate is also an important theme in Attenberg, your character is very physical but has difficulties communicating with others —did your theater experience push the role in this direction or was it already thought out this way ?

The writing of Attenberg didn’t change much…but it wasn’t written for a foreigner, so maybe inadvertently we pushed this Marina towards another manner of communicating. Certainly, with Athina we didn’t want to approach the character psychologically. There’s always a great deal of physicality in my approach.

 Ariane Labed by René Habermacher.

Where does this physicality come from, is it because you’ve practiced ballet, or did you practice ballet because it was in you ?

I did 10 years of classical ballet. I stopped when I was 16 because I could no longer stand the way the body was dealt with. It’s a strange contradiction, I was and remain persuaded that ballet is a sublime and fair form of expression, but I can’t deal with the instrumentalised body.  In ALPS, I play the role of a competitive gymnast, it was a superb challenge to have to return to this physical condition, and yet a real nightmare !

So you keep this tension within you, between the habits of ballet, the need to express yourself physically, and the rejection of the classical dance system….

Yes, something like that.

When we spoke for the first time by email over a year ago, I wasn’t aware that you were at the time going through a “reaction”.

Reaction?

Reaction, or crisis, ou questioning ?

Was it the reaction to cinema ? to the success of Attenberg ? or to the rigors of a gymnast’s discipline ?

Yes, it was shortly after my award in Venice… I was lost.  I did not know how to deal with anything — I didn’t expect and wasn’t prepared for such a level of display. I locked myself into work (the preparation of the role in ALPS) and fled the journalists. It took me a long time to realise that it could be a gift in my life.

That’s when I decided to get an agent in Paris to continue film-making.  When I made Attenberg, I didn’t think I had a place on a screen. I’d loved the shooting, but I couldn’t picture myself fitting in.  This award led me to hope I could continue, and now I only dream of shooting again.

Before Attenberg, was there something you found repulsive in cinema, or was it an attachment to the physicality of theater ?

I didn’t think you could find the intensity you have in front of the public. That moment when you lose the notion of time.

And paradoxically what troubled you after Attenberg was the intensity of the public scrutiny !

Being exposed in a work of art has nothing to do with being exposed as yourself holding a world cup trophy.

I can be naked, raw, give myself completely for a scene or a film, but to expose myself as Ariane Labed in the press is something I find completely uninteresting.

ALPS by Yorgos Lanthimos - trailer. Best Screenplay at 2011 Venice International festival.

So it’s rather the status of the “star” that troubles you rather than shooting itself ?

Shooting is sublime. But I’m not sure of what the actress’ status is. I don’t think there’s a rule. It’s a crazy job, and I hope you can go about it your own way. At least that’s what I’m trying to do.

You returned to Venice for ALPS, which won the prize for Best Scenario, how was it this time ?

It was a holiday ! I took a lot of pleasure, and I was very happy for Yorgos Lanthimos and Efthimis Filipou [the writers].

Let’s quickly talk about ALPS – when does the film come out ?

In France I’m not sure, but in the UK in the Spring.

How was this second film for you ?

I was afraid. After the success of Attenberg, I put a lot of pressure on myself… I was telling myself again that maybe Tarantino was wrong, maybe I shouldn’t be on screens anymore….but it helped me to work even more.  It was a small role in ALPS, but which required 3 months of intense preparation, so I tried to make the most of shooting days and give my best. It was a very different experience.  Yorgos doesn’t work like Athina at all, he leaves the actors with a lot of doubt, and captures everything that slips through.

MONSIEUR CHYPRE
A SHORT FILM WITH EROTOKRITOS
by Antoine Asseraf Asseraf & René Habermacher
with VOGUE ITALIA

Watch it here.

Come celebrate the release of CHIARA SKURA with Marios Schwab and friends,
Friday October 30th, 10pm – 2am
at Le Pompon,
39 rue des Petites Écuries, 75010 Paris
Metro: Bonne Nouvelle
Password: CHIARA

FILM CREDITS:

THE STIMULEYE
thestimuleye.com
presents

A SHORT FILM WITH MARIOS SCHWAB

for
VOGUE ITALIA
vogue.it

directed by
ANTOINE ASSERAF & RENE HABERMACHER

starring
AMY BAILEY

all clothes
MARIOS SCHWAB SS12
mariosschwab.com

styling
CRISTINA GUERRERO VANACLOCHA

hair
BRADY LEA

make-up
LAURA DOMINIQUE

make-up assistant
JOEY CHOY

production
PABLO ROSADO
GEMMA GARNHAM
JADE TONG CUONG
RAQUEL ALBERTOS

photo Assistance
YU FUJIWARA

shot at
UNIT E

light equipment
BIG SKY LONDON

thanks to
RIKE DETSCHER
LINN FLORENTINSSON-HOLM
ALEX SHAH
ADAM SMITH & SKINFLICKS

Directed by Antoine Asseraf & René Habermacher
Starring Amy Bailey

Marios Schwab
Style.com show pictures and review
Vogue.it – A Short Film With

Givenchy, Raf Simons, Ann Demeulemeester, Rick Owens, Gareth Pugh, Comme des Garçons…we had it all. We also had a great concept (think butoh meets inception), a fantastic cast (Ippei is an amazing butoh performer, while Matvey and Willy, both top men’s models, would film Woodkid’s IRON video a few days later), great hair and great make-up, everything great.

RAEVE stroke-inducing poster by Clément Roncier.

Only problem was, we never really found the time to edit it.

Until now.

So without further ado, ræve.

RAEVE
by Antoine Asseraf & René Habermacher

starring Ippei Hosuka + Willy Cartier @ Success Paris + Matvey Lykov@ Success Paris

styling Jean-Luc Française / photo assistant Laurent Dubain / styling assistant Tiphaine Menon / hair Tanya Koch @ B Agency /make-up Akiko Sakamoto / studio Le Petit Oiseau Va Sortir

editing Axelle Zecevic / Clément Roncier / postproduction Clément Roncier / music Oedo Sukeroku “Shunrai” + John Cage “Sonata V” / special thanks Jean-Marc Locatelli