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WINDY PRODUCTION AND MOANA FILMS PRESENT MARION COTILLARD AYLINE AKSOY-ETAIX A FILM BY VANESSA FILHO ALBAN LENOIR WRITTEN BY VANESSA FILHO ADAPTATION & DIALOGUES VANESSA FILHO & DIASTÈME AVEC AMÉLIE DAURE STÉPHANE RIDEAU PRODUIT PAR CAROLE LAMBERT ET MARC MISSONNIER DIRECTEUR DE LA PHOTOGRAPHIE GUILLAUME SCHIFFMAN AFC MONTAGE SOPHIE REINE MUSIQUE ORIGINALE AUDREY ISMAËL ET OLIVIER COURSIER DÉCORS NICOLAS MIGOT COSTUMES ARIANE DAURAT SON XAVIER DREYFUSS MONTAGE SON OLIVIER WALCZAK MIXAGE DOMINIQUE GABORIEAU CASTING BÉNÉDICTE GUIHO © PHOTO JULIE TRANNOY 1ER ASSISTANT RÉALISATEUR CÉSAR CHABROL RÉGISSEURS GÉNÉRAUX ARNAUD FOELLER ET OLIVIER COQUILLON DIRECTRICE DE POSTPRODUCTION LAURENCE VIDOT DIRECTEUR DE PRODUCTION SAMUEL AMAR ADP COPRODUIT PAR STÉPHANE CÉLÉRIER VALÉRIE GARCIA LY NHA KY PRODUCTEUR ASSOCIÉ ANTOINE LAFON UNE COPRODUCTION WINDY PRODUCTION MOANA FILMS MARS FILMS VAN VUONG GROUP ET MY UNITY PRODUCTION AVEC LA PARTICIPATION DE CANAL+ CINÉ+ AVEC LA PARTICIPATION DU CENTRE NATIONAL DU CINÉMA ET DE L’IMAGE ANIMÉE AVEC LE SOUTIEN DE LA RÉGION PROVENCE-ALPES-CÔTE D’AZUR ET DU DÉPARTEMENT DES ALPES-MARITIMES EN PARTENARIAT AVEC LE CNC EN ASSOCIATION AVEC MANON 8 INDÉFILMS 6 A PLUS IMAGE 8 © 2018 WINDY PRODUCTION - MOANA FILMS - MARS FILMS VENTES INTERNATIONALES PLAYTIME LYNK HOLDINGS LIMITED - MY UNITY PRODUCTION WINDY PRODUCTION AND MOANA FILMS PRESENT MARION AYLINE COTILLARD AKSOY-ETAIX A FILM BY VANESSA FILHO ALBAN LENOIR WRITTEN BY VANESSA FILHO ADAPTATION & DIALOGUES VANESSA FILHO & DIASTÈME FRANCE – 2018 – SCOPE – 1H48 INTERNATIONAL SALES INTERNATIONAL PRESS LE PUBLIC SYSTEME CINEMA Alexis Delage-Toriel, Agnès Leroy, Charly Destombes 5, rue Nicolas Flamel 25, rue Notre Dame des Victoires, 75002 Paris 75004 Paris, France Ph: +33 1 53 10 33 99 In Cannes : 29, rue Bivouac Napoléon, 06400 Cannes [email protected] [email protected] [email protected] Synopsis 8-year-old Elli and her mother, Marlène, live in a small town by the French Riviera where they act out to relieve boredom and hide from social services. When Marlène caves in to yet another night of excess, she chooses to leave Elli behind for a man she just met. The young child must confront her mother’s demons in order to get her back. INTERVIEW WITH vanessa filho How did you become a filmmaker? I have a rather eclectic background, but I’ve always wanted to be a film- maker. From childhood on, I constantly had a video camera or camera with me to take pictures and stage scenes. The first movie that really shook me to the core was Kieslowski’s BLUE, which I discovered when I was 13: this feminine heroine played by Juliette Binoche literally overwhelmed me with emotion. I stayed shut up in my bedroom for days on end, listening to Zbigniew Preisner’s Requiem (which is integral to the film) because I was unable to shed the waves of emotions washing over me caused by this oeuvre. That is when I decided that I would write and become a director. I fell in love with cinema, and other films even more deeply anchored my desire to direct. Films like A Woman Under The Influence, Opening Night by Cassavetes, The Woman Next Door by François Truffaut, Family Life, and Lady Bird by Ken Loach, Intentions of Murder by Shohei Imamura, Cléo from 5 to 7 by Agnès Varda. And after? I got my high school Baccalaureate with a specialty in cinema, then I gravi- tated towards theater to learn staging and try to understand as much as possible about acting. When I was 19, I directed a medium-length film, Primitifs [Primitives]. After this first film, I worked in the music business: I directed music videos, documentaries, live shows, and I was a member of a music duo called Smoking Smoking. I’m also a photographer, and during the same time period I worked with a number of artists. I’ve been practic- ing photography as a personal endeavor for twenty years now. But beyond these various creative achievements and artistic endeavors, the desire – the obsession – to make films never left me. This project was so essential that I had to keep on course despite the obstacles and difficulties I came up against, which were so extreme at times that they almost shattered me. I persevered because in my mind there was no other alternative. I had to tell this story that troubled and touched me deeply, for it spoke to me on a very personal and profoundly emotional level – even though it is fiction. In this adventure, during the years it took to see this project though, I was unfailingly supported and helped by Carole Lambert, and also Marc Mis- sonnier – Antoine Lafon being the one who introduced us. My producers’ commitment was decisive in this project’s coming to fruition. What was the starting point for ANGEL FACE? Did you conduct research on alcoholic children? It was the pressing need I had to recount dependency, a lack of love and The story doesn’t come from a specific news item. Once I’d written the first feelings of insecurity. I wanted to depict and film Elli’s solitude, the fact treatment for the movie, I wanted to flesh out my story with other experi- that she has no points of reference whatsoever and her encounter with ences: I met people who worked in health care, psychologists and former alcohol, much too early in her life. alcoholics, AA members, who told me fragments of their stories. And yet, I felt it was important not to make a film that would be a medico-social It’s a film that speaks about love and all the feelings that affect it, make investigation: above all, Angel Face is a fictitious story. Unfortunately there it absent, and make my heroine dependent. But it is also a film about re- are indeed true life stories close to what is depicted in the film, but this is newal. Because despite this terrible ordeal she’s going through, which puts about Elli. And Elli is unique; she’s one of a kind. I wanted to treat her ad- her in the greatest insecurity, she proves to be able to resist, be resourceful, diction to alcohol as a symptom of her distress and her emotional neglect. and find resilience. What touches me with Elli is her ability to simultaneously reconcile her You avoid all types of psychologization in favor of raw emotion, happy pain with her tremendous desire to live. And what moves me deeply about accidents and lucky encounters. Marlène is her helplessness, her fragility, her lack of bearings and hope. It probably comes from the fact that I didn’t want to over explain, under- She’s a human being overcome with chaos and pain, who can’t find her score, anticipate, comment or lecture. I was especially attached to the idea place in this world and doesn’t love herself enough to be open to happi- of affect and emotion, and the way the characters look at a world they’re ness and loving her daughter better. It was thus necessary to make these not properly armed to understand. From that perspective, it’s not the emotions palpable. As I already said, this story is above all fictitious, but causes of the problem that interest me, but the way their emotions guide the emotions are very real to me: I had to struggle against an irrational fear their actions. I built the characters on what strikes a chord emotionally, of being abandoned for a very long time. their feelings, rather than on an explicit causality that would distance the audience from this place where thinking is no longer what governs people. It’s a film about the formative years, about rites of passage, and a film that Generally, I’m interested in these “borderline” states, the time just before speaks about destiny, because Elli may only be eight years old, but she’s an act is committed, and in the “carrying out” of the act itself. going to free herself, let go of the person she loves the most in the world, her mother, to rebuild her own references and bearings, have a hand in her How were you able to keep the “right distance” from the characters, nei- own destiny, provoking it by choosing Julio. ther overly empathetic, nor distancing yourself too much? I strived to be as much as possible in tune with my characters, whom I love How did the writing process go? deeply. What interested me was to translate their point of view. As a result, When these characters and this story came to me, it all became absolutely it’s their perspective that guides mine, and the right distance came about essential in my mind. I had a feeling of urgency. I dropped everything, up- naturally. ended my life and shut myself away with these characters during several I wanted to be in “real time” with the emotions felt by my characters. It’s weeks to write the first version of the treatment. My writing is visual; I see their emotional rhythm that drove the film and established my initial inten- my characters before hearing their voices. In a certain way, I’ve never let tion in the staging and filming. The editor Sophie Reine, who was com- them out of my sight. pletely invested in the film, and I always kept this notion, this intent in mind. I asked Diastème to read my story, which interested and touched him. We We are constantly with Marlène or Elli – it seems as though the rest of the then decided to develop the screenplay together, adapting and writing the world has faded away.

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