Rêve d'opium 1922

Overview

"Perhaps this ballet divertissement framed by a chinoiserie is the only trace left of a film en rélief production announced with so much fanfare and national (French) pride. The Parolini procedure did not result in a 3D film, but seems – if one reads the description in “Cinémiroir” of 28 July 1922 correctly – to have been a stage device based on semi-transparent screens and lightning. Stéphane Passet, the director of Rêve d’opium, worked since 1912 for Albert Kahn’s Archives de la Planète and we