STAYING VERTICAL A FILM BY INTERNATIONAL PR LES FILMS DU WORSO PRESENTS ANYWAYS FLORENCE ALEXANDRE +33 6 31 87 17 54 / [email protected] VANESSA FRÖCHEN +33 6 07 98 52 47 / [email protected]

Cannes office LES CITADINES 1 rue Le Poussin / +33 1 48 24 12 91 DAMIEN BONNARD INDIA HAIR RAPHÄEL THIÉRY INTERNATIONAL SALES WILD BUNCH VINCENT MARAVAL & NOEMIE DEVIDE / [email protected] CAROLE BARATON & OLIVIER BARBIER [email protected] / [email protected] EMILIE SERRES / [email protected] / [email protected] STAYING VERTICAL SILVIA SIMONUTTI

FRANCE | 1H40 | SCOPE | COLOUR | 5.1 Photo © Emanuelle Jacobson-Roques Photo © Emanuelle Jacobson-Roques struggling to find inspiration for his next film, Leo will do whatever it takes to stay standing. their child. Suffering from post-natal depression and with no faith in Leo, who comes and goes seduced by Marie, a free-spirited and dynamic shepherdess. Nine months later she gives birth to Filmmaker Leo is searching for the wolf in the south of . During a scouting excursion he is It’s not easy, but deep down, he loves it. Through a series of unexpected and unusual encounters, without warning, Marie abandons both of them. Leo finds himself alone, with a baby to care for. Photo © Thierry Valletoux noble knight riding in… riding knight noble a and forest a of edge the man, young a ogre, old an eyes: our before unfolding was fairytale pretty tame. We enter your film as if a children’s The beginning of of beginning The solemn. or over-serious be shouldn’t it that is me to What’simportant tional. inten- it’snot but explicitness, sexual of pression im- an explain may Which that. after ones the and ones, next the overcome to wanted I fears, initial my over I got once But hard detect. to sometimes was it repressed so was that view of point a from even maybe way, long a come has approach My interesting! so it makes what That’seven frightening. and fascinating both find tiptoeing been it’s us, I of one many for like and I’ve ages, for around one is sex of question The France. in filmmakers explicit most the of one of doubt no You are sex. representations powerful its in and ture… Your filmmaking is unique in its treatment of na- INTERVIEW WITHALAINGUIRAUDIE Staying Vertical Vertical Staying s actually is tevin marshland and, of course, the wolf… the course, of and, Poi- the marshland of tevin areas mysterious the it, over to- wering castle the with a of Séverac of town the fairytale: imaginativeness the recall the of elements Many film’s mythological. totally sense, this is, in character Jean-Louis the face, and body sual unu- his With universe. the and adven- humanity of ture great the most: us eludes that puts thing the lives, with touch in us our puts and perspective, into magnifies them since It question immemorial. essential time an been to It’s me for explore. and important that’s legends avenue an tales, It’s myth. through today life my yesterday and led I life the es- between to me bridges for tablish important been always it’s think I Photo © Emanuelle Jacobson-Roques need to get back to nature with my films. my with nature to back get to need always I another, or way one city,but the in live I spending time building little dams in streams. Now and nature loved I boy a As that. with do to thing some- has doubt no field a of middle the in mera childhood my onto dreams. holding This impulse I have to go and plant for my ca- pretense a be may dimension dreamlike this to open Remaining other, part. the with realistic, more nicates life, a sometimes nightmare, and this part commu- dreamed of sort a is film the of part One berties. li- greater take to it’sinvitation dreams, an of that resembles closely itself process filmmaking The scene dream “Caution: ahead!” say that signs posting to much it. attention Now I’m able to do it without as draw don’t I it, done always I’ve While depths. the plumb and more horizon, the see clear me to lets clearly, me allows that between reality work and my dreams in dialectic a always There’s enter adream world,ifnotanightmare... Some scenes go beyond the realm of fairytale to stop stop doesn’t dreams and myth childhood, of air Its ner. man- a illustrative or dogmatic too in treats nema reality and current which I events, often find the ci- any of it. My writing and filmmaking are inspired by anyway,and I a don’t about clear-cuthave opinion them, theorize it’s don’t but I that true euthanasia, with issues like gender, procreation, preoccupied surrogacy and very I’m time. my of most up takes writing if even intellectual, an as I myself don’t see destiny. of fatalism, of idea the It’s avoid slack. to way little a a gle-room, wig- little a introducing what’s real, reinventing of idea the prefer I nowhere. me gets issues Forcing the proximates way I pose them to actually myself. of sort in a ap- that way to broach questions on table, the real very them to put only to force issues, I things don’t film a maintain spontaneity. They lized. ciety. But your intentions never seem intellectua- so- relating to pressing questions contemporary Staying Vertical Vertical Staying from posing a number of number a posing from Photo © Emanuelle Jacobson-Roques without regret for a bygone era. bygone a regretfor without nostalgia of form a develop to seems film The together. put to delight a and meaning necessity after the fact… and that own makes a film their d’être, raison own their ding fin- up end intuition by us to come that things the life, in as just film, this in Fundamentally, Lascaux. at caves the in there already were death and Sex As for the spectacular side, that’s not so new either. characters. the of logic the of out in scene, following which the the cops discover the death, the wrote term sprang I as But suicide”. of it as “assisted I it, think didn’t up with came first I When film. the in sequence key a become nically orga- quite had it realized I that writing while was as to notion I how. didn’t any have preconceived It but be involved, somehow would Leo that and die When I my began screenplay, I knew Marcel would manner… spectacular rather a in with deal you which suicide, assisted of subject controversial Vertical Staying lo oce o te highly the on touches also night dances. dances. night Saturday the and mopeds on joyrides the years, school boarding teenage my in rooted stays that it. There’s I in cultivate me even eternal something me, with seventies of the flavor that around I carry world, that disappear. could feel and I which era that from strayed we’ve far in filming I’m world the that’s not But landscape. emotional me for apart and geographical up, world growing a different political, a was which Larzac like life, of way and region certain a to attached very felt I was is that (not youth my we’re for nostalgic more I’m Maybe of closeness. a form when general, In for looking in more groups, time we spend young, view. of point jective sub- a or reality it’sa if know don’t I myself. help ness in the and 1970s 80s than there is now, I can’t conscious- collective and solidarity togetherness, more was there that cliché a it’s if even And lot. a I like expression an regret”is without “Nostalgia Staying Vertical Staying , unless it’s , unless how to judge so great) than the 70s. the than great) Photo © Emanuelle Jacobson-Roques Photo © Emanuelle Jacobson-Roques it. Is it so important to have wolves in France? own confusion my on aup host sums of film questions The wolf. that the arise of fromrid get to have we pastoralism, traditional of form a keep open, the in out sheep keep to want we If shepherds? some would protect, and what do we dothat about the animal this about do we do What insoluble. the wolf. It’s a divisive question, about andis infilm the all in likelihood,issue political direct most The they? doubt. Thingsare getting more and more in complex, aren’t I’m overall, but certainties, few a kept principles, few a forged two, or thing a stabilized around,andthe more lost become.I Naturally I’ve a lot of people, the further I go, the more I stumble Political questions is. are it no longerwhat say posed can’t in the I same but way. film Like this about political fundamentally something there’s sense I political than your previous ones. For that matter, this film is no doubt less overtly discoveries age, intensity. less With with come subjective. that’s know I but today, Shjips Wooden than fifteen Pink at Floyd discovering about exhilarating more some- thing was There inevitable. is nostalgia little A these societal issues. maternalinstincta calling. enjoyedor Itoying with also breaks with certain clichés: not all women have mother?childwithoutthethehavehassleIttheof count,thatisnot what the film’s hero wasafter? To final the In own. her on baby a having by anyone shocks longer no who woman, a like to—exactly want they because own—maybe their on baby a rent”, to show that there are cases where men raise And I wanted to invert the image of the “single pa- else;storiesthepeople ofarewho alone together. reallyanythingfilmedneverI’vewomen. and Men alone. are who men about It’sfilm a also mas. dilem- contemporary very to leads and themes, an existential one. It evokes ancestral, even biblical could be a metaphor, a political metaphor but also covered the extent to which this concrete problem by it, the I issue with cussing concerned those dis- dis- by wolf, the of question the into digging By The final scene with the wolves is flooded in a What about the title? mythic light, there’s a biblical air about it, like I read somewhere that for the wolf, man is a verti- something straight out of an Italian Renaissance cal animal, and that verticality inspires care, res- painting. It has a larger-than-life quality that pect and wariness. In Lozère, I met people who adds a new dimension to your work. had heard their grandparents tell them, should I think I’m getting more and more attached to they come face to face with a wolf, to remain stan- things that are “larger-than-life”. We need that. ding. I liked that notion. It too has a political, pro- To magnify our lives, to make more of them. The grammatic dimension that’s important to me. As whole film tends toward that. They always say for the sexual connotation, I can’t say it displeases “all the stories have been told,” but I disagree: me. Staying Vertical, at least, is typical of the kind of story you never see in cinema. I want to continue making films that have a dreamlike quality, but also, more and more, to conjugate it with the brutality of real life, to go looking for adversity, for things that are not always shiny and bright. The profound contradiction in which the hero finds himself lies in the final scene where he hopes to unite the wolf and the lamb. He’s trying to create a utopia where they would co-exist wi- thout harm. In a way, to solve the equation of the film, I allo- wed myself to get carried away with the emotion of it. There are cases where logic no longer suf- fices. Staying Vertical is the first film where I do this so clearly. Photo © Emanuelle Jacobson-Roques Photo © Emanuelle Jacobson-Roques International Sales International French Distributor Post-production Supervisor Location Manager Production Manager Continuity 1 Costume Designers Hair &Make-up Sound Production Designer Casting Editor DP Art Director Producers Written &Directed by The producer Mirande Yoan Marcel Jean-Louis Marie Léo st Assistant director Toufik Ayadi Caroline Philipponnat Jean-Christophe Hym Roy Genty Sylvie Pialat,BenoîtQuainon Les FilmsduLosange LéonardVincent Nicolas Leclere Nicole Marie EstérezArnaud Sabrina Violet, François Labarthe, AdelaïdeLeGras FrançoisLabarthe, Sabrina Violet, Vidal Grivel,JeanneDelplancq, Nathalie Philippe Toma Baqueni Stéphane Batut Claire (AFC) Mathon Alain Guiraudie Novac Sébastien Laure Calamy Basile Meilleurat Bouillette Christian Raphaël Thiéry Hair India Damien Bonnard Wild Bunch CREW CAST FILMOGRAPHIES

DAMIEN BONNARD Vendeur by Sylvain Desclous • Voir du pays by Delphine and Muriel Coulin • L’Astragale by Brigitte Sy • Through the Air by Fred Grivois • Mercuriales by Virgil Vernier • La Pièce manquante by Nicolas Birkenstock • A Perfect Plan by Augustine by Alice Winocour • Orléans by Virgil Vernier • The Clink of Ice by Bertrand Blier

INDIA HAIR Crash Test Aglaé by Eric Gravel • Stan by Magaly Richard-Serrano • Parisienne by Danielle Arbid • Chic! by Jérôme Cornuau L’Astragale by Brigitte Sy • Merry Christmess by Olivier Doran • Jacky in the Kingdom of Women by Riad Sattouf • Brèves de comptoir by Jean-Michel Ribes • High Society by Julie Lopes Curval • Camille Rewinds by Noémie Lvovsky • Avant l’aube by Raphaël Jacoulot

CHRISTIAN BOUILLETTE The Very Private Life of Mister Sim by Michel Leclerc • Je te mangerais by Sophie Laloy • Faubourg 36 by Christophe Barratier Michou d’Auber by Thomas Gilou • L’Affaire Marcorelle by Serge Le Péron • Les Insaisissables by Christian Gion • One Hundred and One Nights of Simon Cinéma d’Agnès Varda • Netchaïev est de retour byJacques Deray • Three Men and a Cradle by Coline Serreau • Graduate First by Maurice Pialat • The Question by Laurent Heynemann

LAURE CALAMY Primaire by Hélène Angel • Cowboys by • All About Them by Jérôme Bonnell • This Summer Feeling by Mi- khaël Hers • French Women by • Wild Life by Cédric Kahn • Week-Ends de Anne Villacèque • Bicycling With Molière by Philippe Le Guay • Fidelio, Alice’s Journey by Lucie Borleteau • Zouzou by Blandine Lenoir • 9 Month Strech by Al- bert Dupontel • A Perfect Plan by Pascal Chaumeil • La Fleur de l’âge by Nick Quinn • Park Benches by Bruno Podalydès Passe-Passe by Tonie Marshall • Gentle pain by Carsten Brandt • Wild Innocence by Philippe Garrel

RAPHAËL THIÉRY and BASILE MEILLEURAT Staying Vertical by Alain Guiraudie Photo © Thierry Valletoux 1990 -Leshéros sontimmortels 1994 -Tout droit jusqu’aumatin 1997 -LaForce desChoses Poor 2000 -Sunshineforthe 2001 -ThatOldDream Moves that Brave 2003 -NoRestforthe 2005 -TimehasCome 2009 -KingofEscape Lake 2013 -Strangerbythe 2016 -StayingVertical ALAIN GUIRAUDIE ALAIN MEDIUM-LENGTH FILMS FEATURE FILMS SHORT FILMS

Photo © Emanuelle Jacobson-Roques PHOTO DE COUVERTURE © THIERRY VALLETOUX • Imprimerie GESTION GRAPHIC 01 39 95 41 26