Camille and Jac returned to the set to continue what was, at that stage, an exploratory study of how to stage an elaborate crucifixion scene. The set itself remained unchanged; everything was exactly as it had been during their previous session.

This session introduced one key difference in Camille’s initial position. In the previous video, she began facing the post, with both feet placed on the narrow piece of wood in front of it. For this setup, Jac added a square stone and installed a hook on the side of the ceiling.

Camille was positioned with her arms stretched out to either side: one wrist secured to the post, the other attached to a chain hanging from the opposite side. One foot rested on the narrow wooden support, while the other stood on the stone. In this arrangement, she faced the mirror with her legs and arms spread open, forming an X.
Once she was in position, Camille was ready to endure what Jac described as the sentence intended for the victim.

Camille wanted to understand the character she would be playing. Jac based the role on a story he had read as a teenager: a proud priestess who offends the Romans, is captured, and is sentenced to die on the cross. Before the crucifixion, she is subjected to an intense flogging. Camille accepted the challenge and committed herself fully to the role.

Once Camille was secured in the first position, the scourging began. Standing in front of the mirror, she could see herself endure the scene: her posture, her expressions, and the visible effect of each lash. She responded to the lash with the control and intensity she had developed through earlier sessions.
The character was meant to be a proud woman who refused to give her tormentors the satisfaction of seeing her humiliation. Camille held back her cries for as long as she could, letting the struggle between pain and pride shape the performance.

After the prolonged flogging left visible marks across her back and legs, Jac released Camille from the initial setup and repositioned her with her back against the post. In this new position, the sentence continued: another long sequence of lashes, echoing the severity of the earlier scene.

As the scene progressed, Jac was struck by the force of Camille’s performance. Her body language, facial expressions, and control over the character gave the moment a cinematic quality. He found himself imagining the scene on a larger scale, shot with a 35 mm camera, a full crew, a location, extras, and the surrounding characters that were beginning to form in his mind.

Camille’s embodiment of the priestess became powerful and strangely beautiful within the cruelty of the scene. In her suffering, she seemed to transform fully into the character, creating a moment that felt like a poetic vision of martyrdom. The lighting and the room’s dark atmosphere framed her expressions and movements with an almost lyrical intensity.

Camille’s embodiment of the priestess was powerful and strangely beautiful, even within the scene’s extreme cruelty. Through her suffering, she seemed to become the character completely, creating a moment that resembled a poetic vision of martyrdom.

After sustaining enough lashes to have broken nearly anyone else, the victim was barely conscious. She was lowered to the ground, her body marked by the whip and the rags covering her almost gone. She was now ready for the crucifixion.

Jac preserved the atmosphere from the previous session but added one new element for this sequence: candles placed on the floor near the spot where the crucifixion would take place.

Once Camille was on the ground, her hands were fixed to the crossbar. As the nails were driven through and into the wood, her body shook from the force of the moment. She raised her head, her face marked by the whip and glistening with sweat, giving the scene an intense and unsettling realism.
The camera held the scene in a long shot, including the reflection of her body in the mirror on the back wall. This framing expanded the image, making the crucifixion feel both immediate and ceremonial.

The scene concluded with the priestess enduring the agonies of the cross. The marks of the scourging remained visible across her exposed body, turning the image into a stark visual continuation of the punishment that had come before.
Jac allowed the camera to linger on Camille’s performance. Her movements were slow and restrained: her feet rested on the square stone, her arms were stretched wide, and the crossbar shifted slightly as her body moved beneath the strain of the scene.

At one point, Camille stopped moving. Her body appeared defeated, but the character’s pride remained intact. Under the set lights, the image took on the quality of a carved statue, defined by form, grace, and stillness.

Jac was mesmerized by Camille’s performance and by what he saw through the lens and on the monitor. What had begun as a simple test for a possible crucifixion sequence now felt like a self-contained short film, something complete enough to be shown, even though that had not been the original plan.