Audrey Tautou has never really liked the spotlight, or at least what it reflects, but maybe she prefers her image captured by a camera lens. For the past few years, as she stepped away from acting, she has flourished in photography. Her very first Paris exhibition, Superfacial, at Quai de la Photo (13th), showcases how the star of Amélie Poulain plays with appearances and twists self-portraiture into a personal and artistic experience. Throughout the exhibition, made up of about fifty prints, she questions her image, fame, and the way society – and she herself – views her body, career, and mystery.
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A Stage for the Intimate
Far from the melancholy or daydreams of her past roles, Audrey Tautou reveals herself here like we’ve never seen her before. Through staged photographs, scribbled notebook excerpts, and hand-cut fan letters, the actress creates a sort of visual log, at once sensitive, ironic, and sometimes unsettling. It showcases a desire for reclaiming her image, as well as a critique of what fame, consuming and filled with sexist codes, imposes on actresses. Superfacial doesn't deliver a frozen portrait but, like the book of the same name published by Fisheye at the end of 2024, offers a moving mosaic of doubts, humor, and distance.
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Shifting Perspectives
The exhibition goes beyond introspection. Two new series add depth to the approach: portraits of journalists caught in promotion, seen through the eyes of those they came to interview, and photographs of strangers captured from behind, remaining anonymous by choice or modesty. These images flip the roles, shift the angles, and remind us that media exposure is never one-sided. Through this play of mirrors and counter-shots, Audrey Tautou offers a narrative that is as visual as it is political about the power of the gaze and the right to step away from it.
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Superfacial, by Audrey Tautou
Quai de la photo
9, port de la Gare – 13th Arrondissement
From June 5 to September 10
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