From France, to World
Under the Same Light is a documentary born at the crossroads of performance, respect, and rivalry. Produced for 100% during the Paris Supercross, the film steps away from the simple chronicle of an event to explore something more universal: what connects athletes who push each other to the edge.
Our creative ambition was clear from the start. Not to glorify a weekend, a race, or a podium, but to capture a shared moment in time. A space where Cooper Webb and Jett Lawrence stand face to face not only as competitors, but as mirrors of one another. Rivalry here is not conflict; it is dialogue. A silent exchange of inspiration, pressure, and mutual respect.
Under the Same Light embraces a more reflective approach to sport storytelling. By slowing down the narrative and giving space to atmosphere, gestures, and presence, the film invites the viewer behind the noise of the arena. It reveals the human tension that exists beneath helmets and numbers, where greatness is built through observation as much as confrontation.
This project reflects Confluence’s vision of sports filmmaking: crafting cinematic narratives that elevate sport beyond performance alone, and turning competition into a shared human experience.
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The artistic direction of Under the Same Light was built around a radical constraint: one single setting, the arena itself. No exterior escape, no contextual distraction. The Paris Supercross becomes both stage and subject, a closed world where light, dust, steel, and noise shape the narrative.
To give this world a more evocative texture, the film was shot partly on 16mm film using a Bolex camera. This analog choice brings grain, imperfection, and a physicality that digital alone cannot replicate. It anchors the film in something tangible and timeless, allowing images to linger in memory rather than simply pass by.
Camera movement plays a central role in the cinematic language. By mounting cameras directly onto motorcycles and track maintenance machines, we embedded the viewer inside the rhythm of the arena. These unconventional points of view blur the line between sport coverage and cinematic immersion, offering a perspective rarely seen in supercross filmmaking. This is whats this sport desserve!
This is where image becomes meaning, and sport becomes cinema.
