My debut film

Autopsie du Désir

Revived by the gods, (The Greek Myth) mortal Adonis returns to life in the modern world, where desire itself becomes an endless sentence.

The myth of Adonis has always been less about beauty than about recurrence. He is loved, taken, destroyed, and returned—never allowed to conclude. I was interested in what that cycle would look like in a world where desire is no longer fleeting, but archived.

Autopsie du Désir emerged from the idea that documentation changes the nature of intimacy. When moments are preserved, replayed, and remembered in advance, experience splits. One self remains inside the act; another steps outside to observe, to collect, to confirm meaning. This fracture is where the film lives.

Rather than retelling the myth, I wanted to place Adonis back into circulation—to see how an ancient curse behaves inside a contemporary system of attention, visibility, and power. Desire, here, is not romance or excess, but repetition without resolution. Immortality is not transcendence, but continuity.

The film does not seek judgment or confession. It observes. Like an autopsy, it examines what remains once desire has been lived, documented, and replayed—again and again.