Can we take a film back, propose a new version of it in order to update its promises and unfulfilled injunctions? Can we refresh a film, as we say of a computer screen? One can for example say the film, tell its manufacture and its hazards during a conference. Traité d'optique is a film conference that questions the conditions of possibility of a film revival by crossing material culture and utopia, media archaeology and family narrative, about a study film made in 1987. If the conference sometimes replaces the film, can the film itself be a conference?
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In the summer of 1983, a 17-year-old Elio spends his days in his family's villa in Italy. One day Oliver, a graduate student, arrives to assist Elio's father, a professor of Greco-Roman culture.
Envy and conspiracy, but also passionate loves, jealousy, revenge and final forgiveness come together in the masterpiece of Verdi, which aroused the anger and prohibitions of censors of the time until the composer and librettist was compelled to make changes in it: from the original Sweden to far away Boston.
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