#Christophe Lebreton | Explore Tumblr Posts and Blogs

jayprieto · 11 months

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vimeo

METTE | Mama's Eyes from Camille Summers-Valli on Vimeo.

Exec Prod - Art Practice @artpractice.studio Division @division.global Lovesong @lovesongfilms Shot in Mars @shotinmars Production Company - Art Practice - @artpractice.studio Director - Camille Summers-Valli - @camille.summersvalli Executive Producer - James Guy - @jamesguy9 Producer - Daisy Rylance - @daisyrylance

DOP - Maximilian Pittner - @maximilianpittner Editors - Trim - @trimediting Editor - Vid Price - @vidprice Edit Producer - Tatyana Alexandra - @tatyanaalexandra_

Artist - Mette - @mettenarrative Management - Something In Common - Caron Veazey - @caronveazey Senior Commissioner - Sony Music - Kat Cattaneo - @kat_catt @sonymusic @sonymusicuk Creative Director - RCA Records - Joy Elton - @rcarecords

Stylist - Alex Cronan - @alexandracronan @studioand Stylist Assistant - Thomas Grindall - @comanagementagency Make Up Artist - Rebecca Wordingham - @beccawordingham Make Up Assistant - Tamsin BALLINGAL - @tamsinballingall_makeup Make Up Assistant - Chantal AMARI - @amarichantalmua Bodypaint Assistant - Solenne LEBRETON - @solenne.hair.makeup Hair Stylist - Melissa ROUILLE - @melissarouillehair Hair Stylist Assistant - Christophe PUJOL - @christophepujol Seamstress - Taous MEGHNI - @meghnitaous

Choreographer - Calvit Hodge - @calvitjr Choreographer's Assistant - Sara Bivens - @sarabiv Dancer - Brandon MAZEL - @malboneige Dancer - Jacky Desauguste - @jacky_desauguste Dancer - Dypa Si - @dypa_.s

Service Production Company - Shot In Mars - @shotinmars Executive Producer - Julien MANUNTA Producer - Antoine BRUSCO - @antoine.brusco Production Assistant - Elsa MANUNTA - @elsa.manunta Production Assistant - Lilou RAMAIN-COLOMB - @lilou.ramco Intern - Nina DUHAU - @nina.baldetti 1st AD - Robin CHABAS - @studio_ouchka Location / Unit Manager - Tommy KERNE Unit Truck driver - Timothee BOYAVAL - @georgemitone Runner - Remy JARRETOU Runner - Simon WOLF - @grainderiz17 1st AC - Camille GARBARINI - @wapahgirl Loader - Mauro CALANCA - @calancamauro VTR - Jeremy SURACE - @jeremy.surace Steadicamer - Arthur DILOUYA - @arthurdilouya Intern - Lola CHAPUIS - @ari_singer_ Gaffer - Laurent BRISSE - @brisselaurent Electrician - Louis LECA Electrician - Julien LAURENT Key Grip - Nicolas TURCHET - @gripabloc Grip - Willdric LIEVIN - @willdric_lievin_fairyland Grip - Julien ROCA Set designer - Elena SEEGERS - @elena_seegers Set designer assistant - Mathilde CRAQUELIN - @thildacraquelin Studio LED - La Planète Rouge - @laplaneterouge Production manager - Morgann BRUN Technical supervisor - Loic LAMI Screening supervisor - Julien CLIMENT Studio manager - Christian PETRUCCELLI

Local Dancer - Lego - @lego_adilo Local Dancer - Breno ANGELO - @breno.angelo_ Local Dancer - Azhar - @azhar__madi Local Dancer - Edouard LAVELLE - @edouard_dirtysouth Local Dancer - Junior - @juniorjuniusgreen

Archive Researcher - Lina Laraki - @youareinthistoo Archive Researcher - Yomna El-Beyaly - @whoisyomna

Colourist - Nicke Cantarelli - @nickecantarelli Post-Production - The Mill - @millchannel Executive Producer - Clare Melia - @meliacl Chloe Ensore - Post Producer - @chloeensor Ellie Georgiou - Post Production Assistant - @elliegeorgi0u_ Polly Gwinnett - Lead Artist - @pollygwinnett

Archives : Shutterstock, Kino Library, Bob Mizer Foundation, @TRETierney, Internet archive, Youtube, Pexel, iStock, PhotoMagic Minnesota

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remixinc · 1 year

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METTE | Mama's Eyes from Camille Summers-Valli on Vimeo.

DOP - Maximilian Pittner - @maximilianpittner Editors - Trim - @trimediting Editor - Vid Price - @vidprice Edit Producer - Tatyana Alexandra - @tatyanaalexandra_

Archive Researcher - Lina Laraki - @youareinthistoo Archive Researcher - Yomna El-Beyaly - @whoisyomna

Archives : Shutterstock, Kino Library, Bob Mizer Foundation, @TRETierney, Internet archive, Youtube, Pexel, iStock, PhotoMagic Minnesota

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xjoyce66 · 5 years

Text

Christophe Lebreton (1950/1996 ) - Aime jusqu’au bout du Feu.

#Christophe Lebreton #text #citation

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balu8 · 4 years

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Ekhö #1 by Christophe Arleston and Alessandro Barbucci

#christophe arleston #alessandro barbucci #nolwenn lebreton

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esperwatchesfilms · 3 years

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Deathtrap (1982)

ESE: 97/100

50 +10 for Michael Caine +5 for windmill -10 for yelling at Myra -10 for fat-shaming +5 for excellent detailed lie +5 for “Don’t drop the body” +10 for “ten Dorp” being an anagram of portend +10 for Helga -10 for Myra’s constant screaming +15 for homosexual plot twist!!!!! +5 for Helga’s pink hat with reflectors -5 for Cliff’s obviously fake crying +10 for all the twists +5 for Houdini’s handcuffs +2 for blood-spattered credits

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helshades · 5 years

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Please help me find a scent! When I enter a room, I want people to acknowledge my existence. I want to demand their attention, but they can't approach me. No! I want people to automatically realize that they can't play me. No time for nonsense. Serious business only. I'm in charge. I want to be intimidating and mysterious. Which perfume should I get?

So... something potent, sensual, with monstrous projection, unsweetened, but thorny, a little cold perhaps..?. In one word: tantalising.

As a matter of fact, we could go in a lot of directions, depending on your own version of ‘intimidating’ and ‘mysterious’ alone. Or your co-workers’ take on the subject, since some people are likely to feel intimidated in the presence of a powerful green floral, or any spice whatsoever now I come to think of it. As for the approachability factor, the ultra-chic grandiloquence of Rouge Hermès has been known to traumatise its fair share of opponents. Yet, I don’t suppose you’re after something quite so, er, ‘sultry dowager’. Ahem.

Never have I met a perfume so evocative as Grimoire, or so strange. One of Anatole Lebreton’s very best, it resembles nothing you could smell anywhere else, unless you could transport yourself under the robes of a young monk daydreaming over his illuminated manuscript as the window open on the herb garden carries tranquil yet troubling scents into the dusty library. It might be too contemplative for your purposes, but it is a perfume to behold, arresting, beauteous, imaginative, at once familiar and aloof.

Now, if the frankincense and dust have you parched for a wetter perfume, I cannot resist the temptation of slipping a floral in my list, though not others might think of spontaneously: Un matin d’orage, by Annick Goutal, and here you would have a difficult choice to make between the eau de toilette and the eau de parfum versions, as they happen to be quite different, the latter featuring a pretty dirty tuberose on a woody bed of myrrh and guaic, whereas the former is a little spicier with ginger and greener, in my opinion the real ‘stormy morning’ (to be perfectly honest, I wear one in the morning, and the other come afternoon) of the two. Beautiful, energising, but a little cold.

Practically on the opposite, why not something by house Frapin? One of the most respected cognac maker, in 2007 they launched a successful line of wonderful perfumes, generally thought to be leaning on the masculine side (I suppose women are meant only to sip their minute glass of sherry daintily, whereas men can haz the better spirits...) but in truth quite unisex, usually heavy with alcohol and elegantly exotic, like a casket of precious wood so often used to carry bottles that even empty the rich smell of winy fruit and spices linger. Frapin perfumes are usually well-blended and fairly close to the skin, so I’d recommend the probable loudest and my favourite: Caravelle Épicée, ‘spicy caravel’, a classy spicy-boozy juice, peppery, delicately woody with a whiff of tobacco, and a subtle slide of sexy patchouli.

I almost recommended Speakeasy as well but I find it a little close to the skin, all things considered, even though it must be sniffed once. It was made by one of my nose darlings, Marc-Antoine Corticchiato, who runs his own independent house, Parfum d’Empire, of which I dislike exactly zero creation. His very first, back in 2003, was one of the ballsiest ambers ever made, and could drink any Frapin under the table with its intoxicating head of vodka and champagne, like a very tipsy White Russian still too well-educated to lose control of his senses entirely, but he’s almost there, and he’s rambling; and his leather boots are waxed in birch tar, and his perfume is something herbal and masculine with juniper and spices... The result is a smoking Russian tea with a hefty dose of alcohol: the much-beloved Ambre Russe. Also particularly worthy of note in the house for me, with added ‘mystery’, are Wazamba, all incense, balms, resins & woods, and it is to Serge Lutens’ Fille en aiguilles what green leather desk covers are to red ones (ctrl+F, then search for ‘sage-green’.), as well as the bashful and daring Aziyadé, the forbidden Turkish delight of a girl. A lot more luxurious, and not an easy wear for everyone, and it evolves along the day marvellously (very different notes come up depending on who’s wearing it, too, which is never a bad thing), depending also on the weather. Honestly, on me it smells so much like spicey, liqorous orange that I’m incapable not to wear it on Christmas, but on most other people it does smell less like a fruity pomander.

Now, since I cited one of my favourite ambers, I must mention another, which is one of the most splendid ever created: Lubin’s Akkad, which could have been the ultimate ‘perfume of an empire’, as nose Delphine Thierry sought to make the mystical fragrance that emperor Sargon, who ruled Mesopotamia twenty-five centuries ago, might have wished to offer his goddess Ishtar, who presided over love and war... The offering is a startling beauty, sombre and luminous at once, a combination of precious incenses—elemi, olibanum, styrax—with hypnotic herbs (labdanum, clary sage), hot spices (vanilla, cardamom), on a bed of amber embers. Must always be compared with its incestuous cousin Idole, based on ebony wood and a hint of leather. Darker somewhat, more dangerous, and just as heady.

Dangerous also... This one has its share of haters: Serge Noire, by Serge Lutens. It has many notes in common with Idole, including its ebony heart, but instead of rich alcohol and macerated fruits, there are strong, dark peppers and a bag of cloves that knocks you down on first sniff. I adore it, because I can’t have enough of filthy musky notes and clove, like cumin, can be (and is often) worked into a civet-like smell of sweat and sex. (The title is a pun on Lutens’ first name—the nose behind his perfumes being English mad genius Christopher Sheldrake—but serge is French for ‘twill’, a nod to Lutens’ youth designing hair, make-up and jewellery for the high fashion world.) Serge Noire is a contrasted and demanding perfume, burning hot and cold, a dark fur with hints of ash and earth, some have spoken of ink, but it ends on a more suave vanilla-scented leather. You have to be patient for this layer to appear, though.

On the civet-spice spectrum, one of my favourites: Rose Poivrée, which now-retired Hermès in-house perfumer Jean-Claude Ellena designed for The Different Company, is exactly what it says on the tin, a dark red rose with loads, but loads of pepper, black, pink, coriander, and a frisson of vetiver to better underline the insanely exciting duality of this hot-and-cold perfume. I wear it in autumn for some reason, and it keeps changing, alternating between the rose and the sweat-like cumin. It has a magnificent lookalike, with less dirty notes and added gin and leather, in Penhaligon’s Much Ado About the Duke, with the downside of the ridiculous price of their ‘Portraits’ collection, and I hardly ever see it on EBay, unfortunately, but one never knows.

Intimidating, mysterious, commandeering, quite a little bit dangerous, and of course horridly expensive, I frantically advise you to discover the entire line of D.S. & Durga perfumes. Based in New York, perfumer David Seth ‘D.S.’ Moltz and architect Kavi Ahuja ‘Durga’ Moltz are married, crazy, and brilliant; both are obsessed with the way odours allow us to armchair-travel everywhere, and their olfactory universe ventures into pre-industrial America, ‘turning things [they] love into scented stories of cowboys, open terrain, Russian novel characters and folk songs’. This is how you get one Burning Barbershop, inspired by a fire that ravaged a Westlake barbershop in 1891, hence a fragrance like old-timey tonics, lavender, mint, lime, vanilla... as well as smokey notes. (My personal favourite is Bowmakers, a homage to the violin and bow makers of the Bay Colony in 1800s New England, which is only woods—rosewood, mahogany, pine, maple—, resin, varnish, nut and leather.) In the ‘Hylnds’ collection, Pale Grey Mountain, Small Black Lake is an unbelievable chypre with herbal, mineral and aquatic notes reminiscent of an entire Scottish landscape. Even more apothecarial is Mississippi Medicine, with its camphorous head and its resinous, vegetal body of cypress and cedar mixed with coriander, juniper, olibanum, and birch tar—so powerfully, so troublingly organic, intimidating, mystical, that if it heals, it must also be a poison.

Here, impossible not to mention James Heeley’s Esprit du Tigre, the sensuous transposition of a famous Asian liniment commercially known as ‘tiger balm’, but it is surprisingly tasteful and decidedly discreet in the end. So, by Heeley, I’d rather recommend two great classics, his wondrous incenses Cardinal and Phoenicia, the first a sensually blasphemous blend of myrrh and olibanum on white linen, a peppery rose with labdanum, earthy and aerial with patchouli and vetiver; whereas Phoenicia is an imaginary voyage on the Mediterranean Sea, inspired by the merchants who brought so many precious woods, spices and fruits to the west in the Antiquity: dates and grapes, incense and labdanum, oud, sandalwood and birch, and vetiver. It has a lot in common with Aziyadé in fact, except the latter is a spice market while this one is a merchant ship with a heavy cargo of precious woods. (Have both, is essentially what I’m saying.)

So, is it showing that I’m completely obsessed with incenses? I shall refrain from adding to the list Olibanum and Oxiana by Profumum Roma, then, but I’ll have some trouble not mentioning my darling Arso and its resinous beauty with a side of grilled hazelnut... Well, if I really must stop, perhaps instead something like the intensely aromatic Victrix (oakmoss, bay leaf, vetiver, peppers and musk) or the fizzy mint & patchouli of Thundra. Profumum Roma bottles are expensive, yes, but this is because the perfumes are highly concentrated, at 43% (a higher dosage than anybody else I know), which means that they last forever with the smallest spray. Do come back to me for advice in the spring when I’m the mood for greener recommendations because Acqua di Sale, ‘salt water’, a startling seaweed, myrtle and cedar blend, might interest you.

In the meantime, because it is horribly late and I have to post this before I start waxing poetry over sticky florientals and how they too can be intimidating and stuff, but above all, before I begin waxing poetry over most of Pierre Guillaume’s catalogue (his creativity is somewhat epileptic and that catalogue seemingly endless) I’ll leave you with a note on a strange, strange flower, which is Daniela Andrier’s Une amourette Roland Mouret for zany house État Libre d’Orange, where the usually well-behaved classic orange blossom gets loose and lascivious, thanks to a temptress of a perfumer who knows how to play the indolic—that is, the fleshy—notes of the white flower, before lying her down on a bed of crazy neo-patchouli, synthetic molecule Akigalawood®, which possesses the peppery, oud-like notes of the undergrowth. Snow White and the wolf in a bottle.

#answers #nonnies #aromaphilia #you never said how office-friendly that scent should be #remind me to tell you of timbuktu later

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paroissedemartigues · 3 years

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suziegallagher · 1 year

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Day 8: Embrace Beauty

Lebreton I am writing about the Trappist monk, Christophe Lebreton today and reading again his diary. The mundane annoyance at a flat choir and lack of water is dovetailed with a deep theological reflection on Psalm 23. A simple life exposed to horrors of war ultimately dying after being kidnapped.In his poems I find rest, the experience of reading them aloud brings something of the essence of…

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#Christophe Lebreton #diary #Psalm 23

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tiseguiro · 3 years

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Attendere... la terra

di MichaelDavide Semeraro

Il profeta Geremia aiuta il popolo a progredire nell’intelligenza del mistero della salvezza in cui si sperimenta la compagnia di Dio nella storia. Secondo le parole del profeta, verranno giorni in cui la memoria fondativa dell’uscita «dalla terra d’Egitto» diventerà ricordo di un Dio che

«ha ricondotto la discendenza della casa d’Israele dalla terra del settentrione e da tutte le regioni dove li aveva dispersi!» (Ger 23,8).

Ora per noi è necessario un passo ulteriore. Si tratta di passare da una concezione fisica e spaziale della terra a uno spazio di umanità, che permette al Verbo di farsi carne e, alla luce e nella forza di questo mistero di divina compagnia, crea la possibilità per la nostra umanità di essere sempre più uno sprazzo di cielo, uno spazio così squisitamente umano da essere divino. Questa «terra» vergine, nel senso di assoluta apertura e accoglienza, è l’umile ragazza di Nazaret, Maria, che «si trovò incinta per opera dello Spirito Santo» (Mt 1,18). Ma perché il Verbo possa radicare non solo nella carne della nostra umanità, ma pure nelle coordinate storiche e relazionali del nostro vivere umano, è necessaria anche l’accoglienza di Giuseppe, il quale viene presentato dall’evangelista con queste caratteristiche:

«era uomo giusto e non voleva accusarla pubblicamente» (Mt 1,19).

Maurice Zundel commenta tutto ciò con accenti di alta poesia: «Di san Giuseppe non è giunta fino a noi nemmeno una parola. Questo silenzio ci è proposto nel vangelo in un’occasione unica, a proposito di quel grande dramma d’amore, il più grande dramma d’amore della storia, quando Giuseppe deve misurarsi con la maternità di Maria, di cui ignora la sorgente e l’origine. Matteo ha riassunto questa situazione in poche righe che sono un autentico capolavoro di discrezione, di pudore, di umanità e di amore. È questo che dà ai due sposi tutta la loro dimensione umana e divina, questo silenzio da una parte e dall’altra: silenzio di rispetto totale, questo silenzio di fiducia assoluta, questo silenzio sigillato dalla presenza stessa di Dio nel seno di Maria. È a questo punto che Giuseppe si è addormentato sulla sua determinazione e il suo dolore. Perché, in fin dei conti, questa donna egli l’ama come mai un uomo ha amato una donna. Egli si addormenta su questa risoluzione e sul suo dolore, il dolore di lasciarla, il dolore di affidarla al suo destino nel momento in cui avrebbe maggiormente bisogno della sua presenza e della sua protezione» (M. ZUNDEL, Madre della Sapienza, Edizioni Corsia dei Servi, 1954).

Eppure, le cose andranno diversamente e, infine, Giuseppe entrerà interamente nell’avventura umana di Dio fatto uomo. Sarà proprio Giuseppe a dare il nome a Gesù, riprendendo il primo compito di Adamo nel paradiso, quando fu invitato a partecipare all’opera della creazione dando un nome alle realtà che facevano bello e buono il mondo. Il Signore ha scelto un uomo, dalle mani callose ben compromesse con la realtà di questa terra, per vegliare e guidare i primi passi del Figlio e iniziarlo a lavorare per la nuova creazione, quella che avviene non più tra cielo e terra, ma nella terra dei mansueti, dove si gioca il destino di ogni cosa: il cuore. Con il suo silenzio di presenza e di amore tenace, Giuseppe trasmetterà a Gesù il nome e la realtà insegnandogli i «gesti del mestiere», come diceva frère Christophe Lebreton «il servizio del cliente e del fratello» unito alla «preghiera del laboratorio». L’Emmanuele imparerà da Giuseppe come essere «Dio con» le cose, la natura, i fratelli e le sorelle in umanità di cui Maria e Giuseppe sono le prime icone, le più vivibili e amabili che daranno il coraggio a Gesù di attraversare anche le situazioni e le relazioni meno vivibili e meno amabili di questa nostra terra.

GER 23,5-8 MT 1,18-24

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artwalktv · 4 years

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vimeo

Directed by Colin Solal Cardo Story by Christine and the Queens & Colin Solal Cardo Screenplay by Colin Solal Cardo Produced by Rémy Solomon Executive producers: Julien Berlan, Elsa Rakotoson, Marie Fioriti DOP: Crille Forsberg Choreographer: Ryan Heffington Editor: Tianès Montasser Costume Designer: Jonathan Huguet Set Designer: Jeanne Ader Color grading: Fabien Pascal Guest starring: Caroline Polachek and Félix Maritaud as “The Fauna” Dancers: Brandon Masele, Emmanuelle Soum, Enzo Boffa, Josh Wild, Liza Lapert, Maji Claire, Patric Kuo, Silvia Contento Extras:Adam Dahibi, Adam Grandval, Alan Tardif, Alexia Pereira, Aminata Thiboult, Bonnie El Bokeili, Coli-Fary Diouf, Erwan Fale, Eva Studzinski, Fabian Lamy, Fatoumata Diawara, Fleur Dujat, Jordy Van Beghin, Laurent Benhenni, Mariana Benenge, Mélissa Bocoum, Melvin Malheurty, Nicolas Lecourt Mansion, Pricile Ugena, Reihane Grandguillaume, Roxanne Ky, Ryan Meng, Sahné Rasoanaivo, Serena Freira, Stencia Yambogaza, Thomas Lelong, Tidiane Diop, William Dybele Line Producer: Ophélie Stavropoulos Production Coordinator: Mélanie Gilbon First Assistant Director: Juliette Mabille Second Assistant Director: Elsa Michon Assistant Choreographer: Benjamin Milan Casting Extras: Dourane Fall, Conan Laurendot Leader Extra: Fiona Bègue Assistant: Hugo Dao First Assistant Camera: Loup Lebreton Second Assistant Camera: Dimitri Sorel Third Assistant Camera: Jimmy Nguyen Steadicam Operator: Rémi Quilichini B Camera Operator: Julien Pujol Art Department Coordinator: Marie-Aubrey Molès Second Assistant Art Director: Isabelle Lawson Prop Master: Victor Delbos Set Decorators: Lisa Boukobza, Gilles Garnier, Clothilde Cras De Belleval, Timon Milon, Laurent Saint-Gaudens, Océane Dufau Unit Manager: Kim Shewy Unit Assistants: Marion Prieux, Jean-Fred David, Djibyrile Sy, Romane Botquin, Penelope Ader, Charles Crapart, Alexandre Do, Emilia Massias, Jérôme Babinard, Sacha Hayon Gaffer: Basile Barniské Electricians: Adrien Lallau, François Auclair, Vincent Taberlet, Marchal Bedy, Frédéric Chevrier, Lucas Janiszewski, Matthieu Legoupil Key Grip: Tristan Morin Grips: Zaher Megdiche, Camille Conroy, Tanguy Bourgeois, Thomas Canivet, Ugo Villaume Make-Up Artist: Manu Kopp Hair Stylist: Pawel Solis First Assistant Costume Designer: Sarah Bernard Second Assistant Costume Designer: Lise Breton Adjuster: Brice Fernandes Stylist Extras: Pierre De Mones Stylist Extras Assistants: Jill Gattegno, Louise Pisselet Sfx Make-Up Designers: Raphaël Guionnet, Charlotte Arguillere, Antoine Wayne, Cindy Bohn, Joël Mogade, Alexis Kinebanyan, Christophe Mureau Sound Recordist: Charles Darnaud Sound Mix: Alban Lejeune, Eliott Sebbag Sound Mastering: Ash Workman Post Production: Everest Head Of Post Production: Sylvain Obriot Color Grading: Fabien Pascal Post Producer Fx: Chloé Juillard Editing Assistant: Ella Dixon Technical Post Producer: Jeremy Le Bris Graphists: Vincent Heine, Stephane Gassin, Francois Puget, Damien Thiebot Title Designer: Julien Seiller Typographer: Julien Priez Set Photographer: Jonathan ‘Ojoz’ Adelaide Special thanks to: Les équipes de l’Opéra national de Paris, Nicolas Lecourt Mansion, Julien Pujol, Silverway, Kodak, Everest, Rvz

#Videos & Films

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xjoyce66 · 5 years

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Avec toi il faut s'attendre à tout qui peut n'être qu'un rien du tout grand amour Il faut risquer le tout dans les tout petits riens de tous les jours Il me reste au vrai tout de toi à vivre ici aujourd'hui.

Christophe Lebreton

#Christophe Lebreton #text #citation #littérature

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whileiamdying · 4 years

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#IFTTT #Vimeo

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remixinc · 4 years

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LEFA x VALD - bitch from Akim Laouar Aronsen on Vimeo.

Director : Akim Laouar Aronsen with LEFA, VALD, Gorana Crnogorcic, David Francisko Filipovic, Josua Mbana, Tata Magassa, Idrissa Kone and Greg Lebreton. Prod Co : Solab DoP : Adolpho Veloso Producer : Arthur Parratte Production Manager : Thibault Luque AD : Sacha Bitton Steadicam : Remi Quilichini Executive Prod : She Films (Minja Jovanovic, Sara Zeljkovic, Gordan Brkljac) Production Designer : Livija Mikic Costume : Jana Zaharijevic Editing : Tianès Montasser Grading : Serginho Pasqualino Jr (Bleach) Post-prod : Firm Producer : Coralie Duarte Post-production : Raimbaut Gaffier VFX Supervisor: Christophe Duflaut Flame : François Theron & Emma Sauget Sound Post-production : THE Producer : Martin Sumeire Sound Designer : Thomas Gabriel

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ozkamal · 4 years

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#IFTTT #Vimeo

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