In the 19th century, people often viewed 3D images using a device called a stereoscope, which creates the illusion of depth by showing two slightly different photographs to each eye. Denis Gaubert explores this historical technique in Stéréodrome, a short film that precedes his documentary La Vie en relief. The documentary focuses on the photographs taken by Jacques Henri Lartigue, an amateur photographer who didn't see himself as an artist. While stereoscopy faded with the rise of cinema, it was a time of creative experimentation, especially in editing techniques that reflected the spiritualist beliefs of the late 19th century. Gaubert brings this technique back to life by using 3D glasses during the film's screening, inviting viewers to rethink the past through the lens of a "ragpicker of history," a phrase coined by philosopher Walter Benjamin. This approach is introduced early in Stéréodrome with a quote from Pascale Ogier, who asked Jacques Derrida in Ghost Dance, "And you, do you believe in ghosts?" This question sets the tone for a documentary that treats Lartigue's photographs as a haunted archive, filled with stories and mysteries. La Vie en relief is structured in three parts, each corresponding to a historical period: the Belle Époque, World War I, and the interwar years. These segments are based on Lartigue's stereoscopic images and excerpts from his diaries, with an epilogue covering the recognition of his work in New York in the late 1960s. This structure helps to understand the social context that influenced Lartigue's photography and challenges the myth of the solitary genius. The film highlights how Lartigue's background as the son of a wealthy industrialist shaped his life and work. His early interest in painting, his access to stereoscopic photography from a young age, and his ability to avoid military service during World War I are all part of this narrative. The documentary deconstructs the conventional story of Lartigue's life by using three different voices to narrate his story. One voice represents the bourgeois mindset, another delves into more personal aspects of his life, and the third offers a more ironic perspective. This approach adds depth to the documentary, enhancing its three-dimensionality both thematically and technically. The use of 3D visuals and the division into three parts support this layered narrative. The film also preserves the enigma of Lartigue's photographs, making some aspects of his life even more mysterious, such as the relationship between the two Lartigue brothers and the fate of the eldest. By combining historical context with innovative storytelling, La Vie en relief captures both the era in which Lartigue lived and the artistic journey he undertook. The film not only showcases the beauty of Lartigue's work but also invites viewers to reflect on the broader cultural and personal forces that shaped his vision.