To understand why Latitudes Imaginaires resonates with a certain strangeness through its spatial configuration, it should be noted that this short film was shot simultaneously with a period of creation; creation that contributed to it becoming a parallel in-situ play.

This hybrid fiction was initially conceived as a sound piece. The choice of the anatomy amphitheatre for its stage adaptation was made by semantic resonance and aesthetic association. A beeping sound could become not only the signal of a sonar exploring the abyss, but also an electrocardiogram rhythm.

In order to make the best use of the scenographic configuration of the tiers, it was necessary to develop a variety of viewpoints for the spectator. The plurality of possible points of view on the action, which took place in the central part, required that the development of no perspective be underestimated. In order to prioritise the « framing » of the action, the stage set became a very assiduous playground for the lighting.
The regime of viewpoints had to be in keeping not only with the physical configuration of the place, but also with the dramaturgy of the story. For example, using the height that was so dominant on the ‘stage’ of the amphitheatre, the viewer could be taken to task, or even made to feel uncomfortable by his position of authority.

Writer and director of voices : Faustine Reibaud
Artistic direction and music : Arno Zhao
Director of photography and postproduction : Romain Goetz
Lighting design : Léo Lévy-Lajeunesse

The Diviner : Jérôme Rich
The Arias : Faustine Reibaud, Bérengère Polack, Léa Chrétien

Thanks : Institut d’Anatomie DHVS, François Duconseille, Service culture UNISTRA