Research and scriptwriting Philippe Baylaucq
Choreography José Navas
Dancers Lindsey Renée Derry Sarah Fregeau Alexandre Jolicoeur François Richard Lauren Semeschuk Émilie Tremblay
Technical Direction Pierre Plouffe
Cinematography Sébastien Gros
Stereography Francis Hanneman
Electro-optical Engineer
Santa Barbara Focalplane
Arn adams. Ph. D
Line Producer Virginie Léger
2nd camera assistant
Matthew Garland
Key grip
Adam Lukens
Best boy
Justin Bennett
Artistic director
(dance set)
Gilles Aird
Script
Marie Beaulieu
Musicians
Annick Beauvais
Guillaume Bourque
Alexandre Castonguay
Jean Derome
Robert Ellis
Olivier Maranda
Ligia Paquin
Pierre Pépin
Jacques Séguin
Music editing
Nicolas Boroycki
Editing Alain Baril
Post-production stereographers Yannick Grandmont Emmanuel Suquet
Sound design Benoît Dame
Musical Score Robert M. Lepage
Production Photographers Pierre Plouffe Philippe Baylaucq Sébastien Gros René Chénier
Made through the French
Program's filmmaker-in
Residence Program
Directrice Générale
Monique Simard
Executive Producer René Chénier
Ora is both a game changer and a trip into unknown territory. In the first film to use
3D thermal imaging, luminous bodies emerge from a single dividing cell. What
ensues is akin to the first human steps: the discovery of the body and its relation to
space. Choreographer José Navas and filmmaker Philippe Baylaucq create a
cinematic sensation.
Dance on camera festival Lincoln Center, New York.
In terms of sheer novelty, it's hard to top ORA, an NFB-produced
short that is the first film to fully exploit the visual possibilities of
3-D thermal imaging. What you see is entirely generated by the heat
that emanates from the bodies of six dancers in motion. The luminescent
result of this marriage of art and technology is best described
as a 21st-century update of Pas de deux, the classic 1968 dance film by
NBF icon Norman McLaren
Jason Anderson, The Toronto Star
Technically, this is the most futuristic, game-changing film at TIFF 2011. Baylaucq
assembling a troupe of six muscular and elegant modern dancers, photographed
them in darkness with 3D thermal imaging cameras. The cameras sense heat, not
light, and the evolving patterns we see in each dancer's body are exhilarating, as well
as scientifically interesting. Esoteric art and technology merge into mainstream
entertainment. Like the famous Muybridge experiments with the earliest
approximations of a motion picture camera (he showed a horse and a man in
locomotion) ORA is a thrilling leap forward.
Bruce Kirkland, Toronto Sun.
Ora is a visual treat - modern dance choreography meets cinematic innovation of the
highest order. It is the first time infrared thermal imaging technology has been used
to shoot a complete film (the technology is strictly controlled and limited to military,
medical, and scientific applications), and it is shot in 3D to boot. The resulting
sensory experience is incredible.
Dave Robson, IMDB.
Not all movies are narrative. Some are designed to be works of art. At TIFF, the 15
minute Canadian dance film ORA was a stunning example of dance, cinema and
music intersecting to create visual beauty. It is absolutely mesmerizing.
Paula Citron, The new Classical.
Making of