Date Showing Showing On 20, 22, 23 February
Time Showing Monday 6pm, Wednesday 4pm and Thursday 6pm


M 1hrs 57mins
drama | 2021, France | French

Elise thought she had the perfect life: an ideal boyfriend and a promising career as a ballet dancer. It all falls apart the day she catches him cheating on her with her stage backup; and after she suffers an injury on stage, it seems like she might not be able to dance ever again. A heartwarming and inspiring story that tells us how sometimes, the worst thing that could happen may turn out to be the best.


Coarse language and nudity

Cédric Klapisch
Original Review
Heidi Ellison, Paris Update
Extracted By
Anne Green
Marion Barbeau, Hofesh Shechter, Denis Podalydès

Watch The Trailer

Rise (En Corps) Official Trailer [Australia] - Coming soon to cinemas

Storyline (warning: spoilers)

En Corps begins with a beautifully shot sequence that takes place backstage and onstage during a performance of the ballet La Bayadère. With no need for dialogue, the stage is immediately set for the movie’s plot. The prima ballerina, Élise (brilliantly played by Marion Barbeau, a real ballerina from the Paris Opera Ballet in her first film role), troubled by an incident she witnessed backstage just before going on, takes a bad fall and breaks her ankle. Naturally, this is a huge tragedy for someone whose life is totally focused on dance. The 26-year-old Élise, told by a doctor that she will probably have to take two years off during her prime dancing years, is understandably depressed by the prospect and by the recent loss of a cheating boyfriend. The rest of the film follows her through her attempts to recover and find a new path in life.
Élise takes on a menial job in Brittany while reflecting on what to do with her future. This leads her to meet Josiane (Muriel Robin), who is full of wise motherly advice, and more importantly, Hofesh Shechter (playing himself), a real-life choreographer and dancer who encourages Élise to rehearse with his contemporary dance company in spite of her injury. Klapisch gets some cheap laughs by mocking Élise’s physiotherapist, Yann (François Civil), a sweet latter-day hippie who is into all things New Age and is not afraid to cry in front of others. Of course, he falls in love with Élise, to the great amusement of the audience. This was one of the few examples of pure stereotyping in the film.
Overall, it’s a light, engrossing story, well told and acted, with great music and some impressive cinematography – especially of the dance performances and landscapes of Brittany – and a brilliant title sequence with stretched-out graphics at the beginning. It could have stood some cutting to move things along faster, but real tedium never sets in. In spite of these quibbles, there is no doubt that it will dance its way into your heart, especially thanks to Marion Barbeau, who will surely be appearing in many upcoming films.

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