“Bolero”, the film which dissects the creation of Maurice Ravel’s masterpiece, unveiled in Saint-Jean-de-Luz

Anne Fontaine’s feature film was revealed in preview on the Basque coast, in the presence of the actors, on February 27. An odyssey in the footsteps of Maurice Ravel during the composition of his famous music, completed in 1928.

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"Bolero"the latest feature film by Anne Fontaine, previewed in Saint-Jean-de-Luz, February 27, 2024. (FTV)

It is undoubtedly one of the most famous musics in the world. THE Bolero by Ravel, a piece of approximately 16 minutes, composed for the dancer Ida Rubinstein. In 1927, the Russian artist and patron commissioned Ravel, a “Spanish character ballet“. The birth of this work is the central theme of Anne Fontaine’s latest film, in theaters on March 6.

After several setbacks, the composer struggled to write the score. “We take him at this moment where he is trying to compose the Bolero. He can’t find it. It’s a film about creation and how the sounds of everyday life haunt it.”, explains the director. The making of the obsessive theme of Bolero is scrutinized. The heady melody is repeated seventeen times, gaining power as you listen, before ending in apotheosis.

is freely inspired by the monograph

Anne Fontaine’s film “Bolero”

is freely inspired by the monograph “Maurice Ravel” by Marcel Marnat.

(FTV / E. Clerc / F. Cordier / G. Haristoy)

The genius composer is played by the actor Raphaël Personnaz (The Princess of Montpensier, Quai d’Orsay). He considers Maurice Ravel to be a musical visionary. “This is the first techno music loop. This inventiveness has nourished all composers and arouses the admiration of all musicians around the world.“, believes the actor.

Anne Fontaine’s film can count on a top-notch cast. Actress Doria Tillier was chosen to play Misia Sert, an influential pianist and patron, whom Ravel takes as his muse. Jeanne Balibar, Caesarized for Barbaratakes on the features of the fascinating Ida Rubinstein.

“Bolero” by Anne Fontaine, March 6, 2024 in theaters.


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