with Emeric Lhuisset, Coline Jourdan & Lucía Peluffo



Résidence 2020

After Marjorie Calle with Diana Alice Lea in 2016, Clémentine Carrié with Les Jours – Cahiers photographiques in 2017, Nestor (also known as Noé Cuéllar) with 1+2=4 in 2018, Citizen JiF with The Future Was Yesterday in 2019, Pauline Broulis with Trois Iris was the creative filmmarker of 2020 in partnership with the ENS Louis-Lumières in Paris (26’). 

The approach of these three photographers in residence, Emeric, Coline and Lucía, is at the heart of the film Trois Iris. Their relationship to the subject being photographed, to their camera, and also to the environment that surrounds them. The idea that photographers reveal and immortalise what exists but is not seen is addressed in the course of the narrative. The film is sensorial and formal because it is composed of an aesthetic that is sufficiently expressive through sound and image to communicate meaning and tell a story, that of photographers in creation, without relying on words. To do this, they were filmed throughout their creative process but also in their daily lives, as well as during the various experiences they had during their stay in Occitania, in particular alongside the scientists who generously collaborated with them. I discovered with them the importance of research in the creative process. Thanks to science, the photographers found new avenues of reflection, abandoned others, and in short, matured their project. It was a very enriching experience for me because it involved fields I knew little about: microscopy, geochemistry, and the concept of the Anthropocene for example. During the photographers' residency, I was able to discover with them three ways of working, of apprehending the world, and thus of creating. I try to transcribe these personalities and sensibilities in the film. To do this, I had to adapt to the photographers during the shooting: when one was silent, the other was too talkative. My camera has been the privileged witness of the evolution of the three projects, the pitfalls avoided, and the encounters made during these long months of work. I am the first spectator of the passion and sensitivity of the three artists, of the growing maturity of their projects, as well as the first outside look at the birth of their photographs. I hope that this film will give the viewer the same feeling of wonder that I had the chance to experience. Pauline Broulis

Pauline Broulis


Born in Paris in 1995, Pauline Broulis is a filmmaker. She studied cinema in a master’s degree in the ENS Louis-Lumière from 2016 to 2019. She specialised in staging, while having a particular 

attraction for image. She likes writing, directing, and sometimes filming and editing her own films. After experiencing with directing in documentary, she directed Under the Surface in 2018, her first short fiction film, dealing with mother-daughter relationships and the impact they have on the oppression of women in society. In 2019, she made her second short film around the same topic: Toujours ta fille. At the beginning of 2020, she completed her third short fiction film, La Piade, which is similar to her first documentaries. Nature plays an important role and is showed as powerful and wild. This film is a tribute to a place that is dear to her but unfortunately, in the process of being destroyed: the caves of La Piade (Var, France). Successive landslides and toxic waste forced the municipality to ban public access. From her desire to take her revenge on fate was born the desire to make this film, which she made not at La Piade, since it was condemned, but on the Giens peninsula, not far from the site. At the same time, she directed documentaries and advertisings, Pauline Broulis was writing her first feature film and a fourth short film.