Aurélia

Sarah, Karim, Aurélia. Two of them are beings of flesh and blood, the third is made of wood and tissue. Abandoning her companions to shadows and curtains, Aurelia watches, thinks, speaks and her voice rises to protest.

Is the marionette just a wooden puppet ? Where does the acting of the actress stop, and where does the life of the automaton begin ? Play and movie are colliding to offer a new look on the art of the pantomime. Caught in a vaporous atmosphere, the viewer discovers with fascination a strange game of sleepwalking : the slow substitution of the one we thought was just an object to its creator.