His audacious and mordant revisions of “La Maison de Bernarda” (The House of Bernarda) (1978), “Giselle” (1982), “Le sacre du printemps” (The Rite of Spring) (1984), “Le lac des cygnes” (Swan Lake) (1987), “Carmen” (1992) and “La belle au bois dormant” (Sleeping Beauty) (1996) confirmed his talent to dig deep into appearances to bring out the tormented psychology of the characters and to defy ballet conventions. In 1980, Mats Ek became co-artistic director for the company, along with Birgit Cullberg, and in 1985, when she took her retirement, he became the sole director. He joined the Dusseldorf Ballet for a season (1974-75), then integrated the Cullberg Ballet, directed by his mother Birgit Cullberg, the following year. Mats Ek began his career by studying theatre, whilst taking part in Donya Feuer's (an American who practiced the Martha Graham technique and who was based in Stockholm) dance classes at the same time. With stunning archives and some of his fervent admirers (filmmakers Claude Lelouch and Kim Jee-woon, singers Angélique Kidjo and Rufus Wainwright, choreographers Marie-Agnès Gillot, Gregory Maqoma or Raimund Hoghe, pianists Katia and Marielle Labèque or the popes of electro Carl Craig and Moritz von Oswald…), this documentary retraces beating the extraordinary fate of what was, originally, a small masterpiece of modernity and radicalism. Over time, it has become a real "tube", which inspires each year, from Paris to Tokyo, from Johannesburg to Berlin, artistic productions of an astonishing diversity, whether it be dance, cinema or musical adaptations of all kinds. Its repetitive structure, with the crescendo resumption, continuously, of the ternary rhythm of the bolero hammered by the snare drum and the two melodies of sixteen bars each, gives the work a hypnotic power. Perpetually revisited, remixed, sublimated soundtrack, this brief symphonic piece, commissioned by Russian dancer Ida Rubinstein for a performance at the Opéra Garnier, immediately won a triumph. "I start very small to finish huge," sums up Maurice Ravel in 1928, to characterize the musical UFO he has just composed, without imagining that he also describes the phenomenal and planetary destiny that his Boléro will experience. A phenomenal destiny told with a beating drum, notably by some of his fervent admirers: the filmmaker Claude Lelouch, the singers Angélique Kidjo and Rufus Wainwright, the pianists Katia and Marielle Labèque or the popes of electro Carl Craig and Moritz von Oswald. Since its creation in 1928, Ravel's "Boléro" has been the most popular "classic" work in the world.