Marlène Rabinel

Marlène is an actress and director based in Paris, whose artistic career is built at the intersection of body, movement and light. From childhood, she trained in dance (more than 15 years of practice) and developed as an autodidact a practice of collage and painting, laying the foundations of a multiple and intuitive visual language.

She discovered film sets at the dawn of her 20th birthday, especially in Yves Saint Laurent by Jalil Lespert, where she refines her understanding of the cinematographic process by observing all the trades at work. She also evolves as a dancer at the Opera, enriching her relationship with the stage and with the gesture.

In 2015, she joined the scenography course at the Lecoq International School, trained in the construction of puppets with Natacha Belova, and founded her company La Gueule du Diable. She created a first multidisciplinary show entitled Free fall, only one on stage supported by the City of Brest.

Convinced that artistic disciplines dialogue with each other, she turned to film writing, with two short film scripts: The Devil in the Choir (fantastic) and Atomic 22 (horror, in production). In January 2025, she joined Ateliers Varan in documentary filmmaking. Her first movie, What trembling makes you see, was screened there the day before he left for Rocabella. This work marked a revelation for her: she therefore started writing a feature-length documentary, The Retirement.

Alongside her directing projects, she continues to act for the cinema, most recently in the feature film Chopin Chopin! , shot in Poland under the direction of Michal Kwiecinski.

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With her multidisciplinary background combining acting, writing, scenography, scenography, dance and directing, Marlène wishes to infuse the making-of of the residence with a sensitive, cinematographic and profoundly human perspective. More than just a filmed logbook, she imagines this project as a mirror film, a work in its own right, which would tell the birth of a collective documentary in a poetic and organic way.

His desire is to film the creative process in all its complexity: its impulses, its doubts, its brilliance. By paying particular attention to the frame, to the light, to the material of the story, she explores the idea of a making-of as an autonomous form, carrying its own language and a singular rhythm.

Her intimate relationship with the body and with movement, inherited from dance, invites her to tell stories through gestures, faces, and silences: to capture the interiority of what is at play for the four directors of the documentary film, the concentration, the tensions, the tensions, the small victories of collective creation.

For Marlène, the Blue residence is above all a human and artistic adventure, a fertile encounter with other residents and stakeholders, a rare opportunity to share, to learn, and to confront the unknown. Co-directing this film with two eyes and four hands is also an opportunity to enrich your technical skills, to open a dialogue between two worlds, and to let a common writing emerge.

This making-of will not be a simple reflection, but an artistic gesture in itself, at the service of the memory of a creation and the collective desire to tell stories differently.

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