The French Doc. The Paris Opera - Soap Opera Reality Look Behind the Curtains Art, Warts and All

The Paris Opera House was established by Louis XIV in 1669.  The Paris Opera House is home to both the Paris Opera & Paris Ballet.  This doc. was filmed in 2015, the 1st year under Artistic Director Benjamin Millipied who left his post after 2 years.  His pending departure is merely a smidgeon of the multifaceted perspectives this lengthy doc. shares.  Sadly, this was one of the more riveting interest stories we're given privy, more insight would have benefited the film.  The Opening Gala (2015) for the Paris Ballet was seen with all its glorious opulence and VIP's, including the President of France.  It was humorous to hear the problems & petulance regarding the seating arrangements.  The Dir. of the Paris Opera House, Stephane Lissner, didn't rate being seated with the Pres. or Natalie Portman much to his chagrin.   Lissner is a principal player followed discretely & incessantly.  The press release meeting prior to the Ballet Gala was met with some censorship.  Lissner referred to the Paris Ballet Co. as the best in the world and promptly told "We don't say that" among other things not to say.  There sered little censorship where the camera was allowed to go.  Most charming were the scenes of an orchestra for pre-teens receiving musical training. The camera favored a young baritone from Russia, Misha.  He possessed a beautiful singing voice and winning smile but didn't parley vous francais.  This doc. received the Moscow Film Prize for Best Doc. which wouldn't surprise me because it highlights this Russian artist.  I most enjoyed watching Millipied rehearse with the dancers and the opera rehearsals with its maestro conducting & containing his frustrations.   The Paris Opera House is located in the heart of Paris and the views from the executive office of the city were magnificent.  From there you witnessed the national strikes outside.  The managing staff also had to contend with strike threats, last minute replacements and contract negotiations.  The opera Moses & Aaron required a bull to be on stage which was absolute bullshit. Surprisingly, it didn't stir strikes from animal activists.  Some of the dramatic scenes felt staged and some of the minutia maintaining the building, costumes and tech effects was wearisome.  The terrorist attack in Paris at another concert venue was addressed and respects were paid.  Lessner, spoke to the significance of art in the face of tragedy.  The movie is meant to sustain & expand attendance for the ballet & opera.  The best way may be what was suggested, lower average ticket prices to eliminate elitism that persists.  This doc. will mainly appeal to the erudite elite.  And even then, it may loose its audience's attention.