Mia, a young woman in a small American Midwestern town goes to a traveling carnival one evening, where she is urged by a silent clown to visit the carnival's circus and see the Aerialist, the show's star attraction. She is entranced by the Aerialist, but during his act he misses a catch and falls to the ground. She rushes to help him, but then the ground beneath them gives way and they fall through into the dreamlike world of Cirque du Soleil. Separated, they travel through the different tent worlds trying to find each other, interacting with the strange and wonderful performers and performances of Cirque du Soleil. Mia and the Aerialist perform an aerial courtship for the grand finale.

When Adamson chose acts from the seven live Cirque du Soleil shows to use in the film, he picked those that would lend themselves to the storyline of Mia searching for the Aerialist from tent to tent. Each time she peels back the curtain and steps inside, another Cirque du Soleil world opens to her. These worlds are:

You'll see Synchronized Swimming, Duo Trapeze, Bateau, Fire, Contortion and Aerial Hoops from "O".

"Water represents both life and the unconscious, the dream state and illusion because of its reflection," says Pierre Parisien, Cirque du Soleil senior artistic director. "It's sort of the unseen realm of spirits, of ghosts, and the flying boat is like The Flying Dutchman. They are trying to lure Mia aboard but she won't go." It is the first tent Mia visits after she falls into an alternate desert wasteland populated by six big tops, "six kinds of limbos," says Linz.

Wheel of Death, The Final Battle, Pursuit, and the Flying Bird from KA are shown here. The film also ends here as the two main characters perform an aerial ballet in the Forest scene.

To Adamson KÀ was about spectacle, with a stage a quarter of the size of a football field that lifts vertically, spins around and changes. "What I wanted to capture wasn't just the act and the performers but the ingenuity. Part of what Cirque du Soleil does so well is combine art and technology."

Only the Aerial Cube is shown, much to our dismay.

"Mystère is highly acrobatic, the most acrobatic show we have," says James Hadley, Cirque du Soleil's senior artistic director for resident shows in North America. It is also the longest running Cirque du Soleil show in Las Vegas. Hanging from a cube in mid-air, an aerialist performs a ballet with seemingly effortless maneuvers, foreshadowing what is to come for the star-crossed lovers.

Only the Trampoline - Got a Lot of Livin' To Do - number is shown.

In the film, a mysterious self-propelled tricycle leads Mia to the Viva ELVIS tent, where performers dressed as super heroes fly off trampolines to the music of Elvis.

This is the ONLY appearance of anything related to BELIEVE in the film.

Mia travels through six Cirque du Soleil tents that occupy a limbo state between life and death in search of love lost. The seventh element is not a tent but Cirque du Soleil's very own peculiar White Rabbit, a dancing disembodied bunny head from CRISS ANGEL Believe, who makes a timely appearance, beckoning her to follow.

Only the waterbowl act was performed for the film to "Nostalgie" from "O".

"The act that we're using from Zumanity is very small and contained, but it fits thematically well where we've placed it," says Adamson. What first appears to be water on the moon transforms into a water-filled glass container from which a seductive contortionist entices the Aerialist to join her.

A number of scenes from LOVE appear, such as Blackbird, Octopus' Garden, Lucy in the Sky with Diamonds, For the Benefit of Mr. Kite, Get Back/Glass Onion, and While my Guitar Gently Weeps.

The act built around the song Being for the Benefit of Mr. Kite is "a circus-based theme," says Adamson, "so it tied us back into the beginning of our opening circus." Hadley adds, "Actually Mr. Kite, of all the acts that we filmed, probably has the biggest number of artists in one act."