Good Sex, created by the Irish company Dead Centre, unfolds a fragile story of love, solitude and desire. Each evening two performers who have previously loved are reunited on stage, yet the actors do not know each other nor the words they must inhabit; the dialogue is whispered to them in real time through an earpiece, guided by an intimacy coordinator. The piece examines how intimacy and sexuality are constructed, and reflects on theatrical and cinematic illusion.
In French.
Choreographer Aurélien Dougé investigates the relation between body and material in Sans titre (Barre d’acier). Performed solo on a square platform, the artist rotates continuously while holding a four‑metre steel bar that acts as both constraint and bodily extension. The piece foregrounds shifted weight, altered lines of tension and extremely slow gestural transformations against a persistent rotational rhythm. Rudy Decelière’s sound design suspends time, and a video triptych created with WIPART extends the work’s sculptural presence across contexts.
Presented in partnership with the Institut National Genevois, this closing concert brings together prizewinners of the Geneva Competition: violist Brian Isaacs and the Quatuor Elmire. The programme centres on Beethoven’s Quintet alongside two contrasting works, offering intimate chamber music textures. The performers favour clarity of line and heated interplay, shaping a narrative of tenderness and tension. Lighting and staging are understated, focusing attention on timbral richness and communicative ensemble playing to create a luminous, emotionally precise evening.
Created and performed by Elina Kulikova and Dima Efremov, TRILOGIE DE LA GUERRE interweaves three musical-performance pieces responding to exile, the war in Ukraine and repression in Russia. Kulikova’s chapters evoke classical and folk song, transforming lament into a ritualised, sensory mourning; Efremov’s contribution uses sound art and electro textures to shift perspective and map clandestine networks of resistance. Together the trilogy forms a compact dramaturgy of intimacy, unease and fragile hope, immersive and politically charged.
Text by Erri De Luca. Directed by Barbara Baker and F‑X Fernandez‑Cavada, Impossible unfolds after a man falls from a steep trail in the Dolomites. Blending investigation, memory and love letters, the staging probes guilt, betrayal and political history as two former members of the same terrorist group confront a shared past. The production balances documentary clarity and poetic fragments, offering a tense, intimate reflection on vengeance and the echoes of the 20th century into the present.
In French.
Directed by Rebecca Stella and adapted with Danielle Barthélemy, Cendrillon blends classic fairy-tale drama with manga-inspired staging. Pili Loop’s original score, Mathieu Courtaillier’s lighting and the set by Camille Ansquer shape a vivid, contemporary universe. Costumes by Alice Toutev and Sonia Bosc and choreography by Léon add playful movement and character. Anthony Surleraux’s video projections and graphics expand the tale’s visual world, pairing tradition with modern theatrical textures.
In French.
Dive into the heart of GIFF NIGHTS, the unmissable nighttime event where the Geneva International Film Festival fuses cinema, digital creation, and electronic music. Set against a spectacular backdrop brought to life by audiovisual performances and vibrant DJ sets, these extraordinary evenings transform the space into a unique, immersive, and festive experience—the perfect setting to gather, dance, and celebrate contemporary culture long into the night.
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