Three Films, One Shared Passion for French Cinema

From the first stages of preparation to the final delivery, The Mill and TransPerfect Media teams have been involved in three new French film releases, bringing together a wide range of creative and technical expertise across the filmmaking process.

Three films, three distinct creative worlds, and three collaborations that reflect the breadth of our teams' work across French cinema.

Released in French cinemas today, Les Yeux verts, The Golden Age (L’Âge d’or) and Il faut brûler maman each brought their own creative challenges and opportunities to collaborate closely with filmmakers, producers and creative talent.

Across these projects, our teams contributed at different stages of production, from pre-production planning and on-set support to image post-production, VFX, rushes management, colour grading and final deliveries. A continuous approach built around close collaboration, shared expertise and a genuine understanding of each film's creative vision.

Les Yeux verts: VFX in service of magical realism

Directed by Fanny Liatard and Jérémy Trouilh, and produced by Haut et Court Production and June Production, Les Yeux verts explores a sensitive visual universe where magical realism plays an important role in the storytelling.

The Mill's Film & Series teams collaborated closely with the filmmakers to deliver more than 36 VFX shots, carefully crafted to support the film's emotional depth and immersive visual language.

Rather than drawing attention to themselves, the visual effects were designed to blend seamlessly into the story, enhancing its atmosphere and subtlety.

The VFX work was supervised by Lise Fischer, produced by Yann Nivet, with executive production by Hélène Vanovre.

L'Âge d'Or: Bringing fiction and archival footage together

Directed by Bérenger Thouin and produced by GoGoGo Films and Graffiti Film, The Golden Age presented a distinctive creative challenge: bringing contemporary performances into dialogue with historical footage.

One of the project's key achievements lies in the seamless integration of actors within archival material sourced from Gaumont Pathé Archives, creating compelling interactions between fiction and history.

The entire film was shot in black and white before being fully colourised, ensuring visual consistency between newly shot material and restored archive sequences. The Mill supervised and delivered 60 VFX shots under the direction of VFX Supervisor Hugues Namur, with VFX Producer Loriane Lucas.

Our image post-production teams also welcomed colourists Laurent Ripoll and Julian Nouveau to finalise the film's visual identity and support the extensive image harmonisation process.

Il faut brûler maman: Supporting the image from production to delivery

Directed by Albert Dupontel and produced by Catherine Bozorgan's ADCB Films, Il faut brûler maman marks another collaboration for our image post-production teams at TransPerfect Media, formerly MPC Post Production in Hauteville.

Shot by cinematographer Alexis Kavyrchine, the film benefited from close collaboration between our teams and ADCB throughout the image post-production process. From rushes management and colour grading to the preparation of final deliverables, our teams provided continuity and support at every stage, helping the filmmakers carry their visual intentions through to the finished film.

A special thank you to Christelle Didier for post-production, and to Brice Leclert and Alison Wightman for project coordination. And, of course, to ADCB for their trust.