In the world of high-conclude cinematography, some tools are more than just equipment. they are historical artifacts. For the production of the Netflix film Par-delà les étoiles, a recent heist in Lyon has resulted in the loss of exactly such artifacts—a collection of rare cameras and lenses stolen from Netflix shoot in Lyon that may never be recovered.
The theft occurred during the night of Wednesday, April 1, to Thursday, April 2, in the 1st arrondissement of Lyon. Thieves targeted a production site on Rue Lemot, making off with two complete filming units. The stolen haul includes multiple cameras, various accessories, and eight highly coveted lenses. According to Patrick Leplat, Director General of the rental giant Panavision, the financial loss is estimated to be between Panavision‘s specialized equipment values of €700,000 and €1 million.
While the monetary figure is staggering, the cultural loss is what has the industry reeling. The stolen items weren’t just expensive; they were irreplaceable. Leplat compared the theft to the loss of a masterpiece, stating, “It’s like the theft of a Monet, you will never find the original again.”
The Irreplaceable Legacy of Anamorphique G Glass
The centerpiece of the theft is a set of Anamorphique G lenses. In the cinematography community, these lenses are prized for their distinct visual character, a look that modern digital manufacturing cannot replicate. These optics have been used on some of the most visually ambitious projects in recent years, including the Mission Impossible saga and the film Un Ours dans le Jura.
The tragedy of the theft lies in the chemistry of the glass itself. As the specific composition of the glass used two decades ago is no longer produced, these lenses cannot be manufactured today. This makes the loss a blow to the technical history of the medium.
The most serious thing is the theft of the optics because this series no longer exists. We can no longer manufacture them today. We can no longer find the glass that was used 20 years ago.
Leplat emphasized that these lenses are a global resource, moving from set to set across the world due to their rarity. By losing them, he argues, the industry is effectively “amputating the heritage of French cinema.”
A Precision Heist Under Guarded Watch
The method of the theft suggests a level of planning and audacity that has left local authorities concerned. The equipment was stored inside one of ten trucks parked overnight at a site that was reportedly monitored by two security guards. Despite this presence, the perpetrators managed to access the vehicle without triggering an immediate alarm.
Investigators found that the thieves climbed onto the roof of the truck and used a power grinder—a disqueuse—to cut a hole through the metal ceiling. Once inside, the thieves acted with surgical precision. Because the cameras had already been dismantled for the night and the lenses were stored in separate protective boxes, the thieves simply removed the gear and placed it into bags, leaving the empty boxes behind.
During the night of April 1 to 2, cameras and lenses were stolen from the set of “Par-delà les étoiles” in Lyon. The perpetrators cut through the roof of the truck where the equipment was stored. © Patrick Leplat
A Troubling Pattern for Lyon’s Film Industry
This is not an isolated incident. The heist bears a striking resemblance to two other thefts that occurred in Lyon in November 2025. In those instances, four cameras were stolen from the set of the second season of Flashback, a production for the network TF1. Those thieves also utilized power grinders to break into trucks parked in a secure lot.
While the Lyon prosecutor’s office has opened an investigation into “theft with degradation” and assigned the case to the judicial action group of the western division, they have not yet officially confirmed a link between the Netflix theft and the previous TF1 incidents.
The recurring nature of these crimes poses a strategic threat to the city’s reputation. Lyon has long been a favored destination for international productions due to its architecture and atmosphere, but the rise of targeted equipment theft could craft insurers and production houses wary.
| Production | Date | Method | Key Loss |
|---|---|---|---|
| Par-delà les étoiles (Netflix) | April 2026 | Roof cut with grinder | Anamorphique G lenses / Cameras |
| Flashback S2 (TF1) | Nov 2025 | Truck breached with grinder | Four cameras |
In a desperate bid to recover the irreplaceable glass, Patrick Leplat has issued a public appeal to the thieves, stating he is prepared to buy back the lenses. The goal is to prevent the equipment from being smuggled out of the country, where it would likely vanish into private collections or obscure markets.
“Lyon must not become the city where one can no longer film because of these thefts,” Leplat warned.
The investigation remains active, with police currently reviewing security footage and interviewing the guards on duty. The next phase of the inquiry will focus on tracking the movement of the high-value optics through known black-market channels for professional cinema gear.
We invite our readers to share this story to help raise awareness of the stolen equipment. Do you believe cities should implement stricter security mandates for film sets? Let us understand in the comments.
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