Joachim Lafosse Bérénice Bejo Cédric Kahn
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LES FILMS DU WORSO AND VERSUS PRODUCTION PRESENT BÉRÉNICE BEJO CÉDRIC KAHN A FILM BY JOACHIM LAFOSSE Les films du Worso and Versus production present A FILM BY JOACHIM LAFOSSE WITH BÉRÉNICE BEJO AND CÉDRIC KAHN 100MIN - BELGIUM/FRANCE - 2016 - SCOPE - 5.1 INTERNATIONAL PRESS ALIBI COMMUNICATIONS INTERNATIONAL SALES Brigitta PORTIER In Cannes: Unifrance – Village International 5, rue Darcet French mobile: +33 6 28 96 81 65 (from May10th) 75017 Paris International mobile: +32 4 77 98 25 84 Phone: +33 1 44 69 59 59 [email protected] Press materials available for download on www.le-pacte.com SYNOPSIS After 15 years of living together, Marie and Boris decide to get a divorce. Marie had bought the house in which they live with their two daughters, but it was Boris who had completely renovated it. Since he cannot afford to find another place to live, they must continue to share it. When all is said and done, neither of the two is willing to give up. We sense that the two girls are quite disrupted by the situation. At the same time, they give INTERVIEW WITH the impression that they are quite comprehensive regarding the very strict rules imposed by Marie on Boris, just like they’re comprehensive regarding the father’s transgressions: “It’s not JOACHIM LAFOSSE his day”, Jade will tell Margaux, so as to explain the embarrassment which follows Boris’s presence in the house on a Wednesday afternoon. Marie seems to sets all the rules. She’s in charge. Boris does not have a say, but in a way this situation allows What triggered the idea of the film? How did you write it? him to set his own rule. Neither of them manages to find a common ground. But there’s also something It was the meeting with Mazarine Pingeot and our common wish to film the couple. We both wanted to show childish in their quarrels. Winnicot says: “The catastrophe has always taken place beforehand”. It’s interesting to study adults based on the children they’ve been and the quarrels they’ve had when young. But I want the very strong emotions behind the conflicts in couples and of which money is often the symptom. to avoid talking about the one or the other. It’s up to the spectator and the journalists to take sides. Mazarine is used to writing in pairs with another screenwriter, Fanny Burdino. As for me, I am used to working The film allows that. with Thomas Van Zuylen. They made a version and sent it to us. We worked on it and sent it back to them. And we continued like that until we started the actual preparations for the shooting. From that point As for Marie’s mother, played by Marthe Keller, she’s militantly in favour of the couple’s reconciliation. on, I only worked with Thomas and the actors. As far as I’m concerned, the writing is only finished once She’s following the logic of her generation. She stands for a form of compromise which means turning love the film has been shot. To be accurate, one must constantly seek and try, and most of all manage to get rid of into friendship. I would like to think that love is something else: we live with someone because we desire them. ideas in order to allow for embodiment to happen. The script must belong to the actors so that they can take Yet, desire is, by definition, the most complex, risky and uncomfortable thing there is. The character played possession of the role fully and accurately. The film wouldn’t be what it is without their contribution. by Bérénice Bejo believes she’s capable of leading a life different from that of her parents. She’s emancipating herself. Is money the symptom or the cause of their conflicts? Boris, who has a less privileged background, does not have money. Marie does. Let’s go back to the children. During the scene of the dance, then the bedtime scene, we feel that In a couple, money represents one of the things we can quarrel about, it’s not the deep cause of the dispute. they take an immense pleasure in saying “Daddy, Mummy” at the same time. Money isn’t the reason why Boris and Marie can’t love each other anymore. Money is the apple of discord, but I’ve been a divorce-child but I’m also a divorce-father. It’s an asset when you consider what’s possible but it’s behind that there is always the way in which one gets acknowledgement or not, the way in which one seeks also a disadvantage because you cannot ignore the sadness this situation represents. A separation is always recognition for what one has or has not done. Investment is never only economical or financial. Boris and Marie a failure. But, for me, the film says there’s still something possible in it. cannot agree upon how they should measure what they’ve given each other, because they haven’t been clear from the beginning about each one’s investment in the couple. Short reckonings also make great love stories. Despite the conflicts the couple is having, there are indeed a lot of feelings circulating between the two characters. So there is no political reading behind the title L’ÉCONOMIE DU COUPLE (original title, literally Yes, the film is not a tragedy. For a long time tragedy was for me a way to defend myself when facing life and meaning “the economy of the couple” in French)? I’m happy to reveal that tenderness which is in both of the characters; they tear each other apart, and despite That’s one possible reading. The director is there to make his film as plural as possible, with as many ways it all, they still have something to do together. If people come out from the film asking themselves how it’s to relate to it and identify with it as he can. Personally, I don’t want to look at the film from that angle. possible to unknot a situation like this in a way that takes care of the other, then I have accomplished my goal. My starting point was the simple idea that, a priori, when you have children with somebody, it’s never because you imagined it wasn’t going to last. You can always notice a feeling of sadness in any separation… Tell us about the choice of actors. because you had not planned for it or imagined it. The casting is a very complicated moment for me – I go through a lot of doubts and can often backtrack; it’s only really finished once the actors are on the set and we are shooting the film. Once we’re there, I’ve never This couple’s situation gets even harder to bear since Boris does not have the means to find regretted my choices. Bérénice Bejo is an amazing accomplice: she’s really on the writer’s side. Is it because another place to stay, forcing the couple to go on living together. both her father and husband are film directors? She’s a great actress - touching and very impressive. Bérénice It was impossible not to take this economic reality into account: the price of rents in the big cities is at such is not really a star: she’s real and that’s why she’s so accurate in the film. Cédric Kahn has brought all his a level it takes a lot of time for many people to get separated because they cannot afford to pay a rent on their subtlety and his intelligence to the character of Boris - not only by his playing, but also by his reflections on the own. We used to stay together for moral reasons; today it’s for financial reasons. It says something about our couple. We didn’t always agree, we sometimes had fights, but these fights elevated the film. I’ll say it again: era… I always write my films with my actors. Why did you want to oppose an adult couple and a pair of twins? How does that translate on set? I’ve been wanting to stage a separating couple facing a pair of twin children for years: from the moment To me, the director is like a sponge: he’s not there to make the characters look like him but he’s there to make they’re born, and despite the fantasy we all have when we’re in love to be able to create a twin couple, the film as complex as possible. In order to reach that complexity and make it come alive, my work consists the parents of twins have to face what they’ll never be themselves. Being a twin myself and half-brother in listening to people, recognising their different points of view on a story and pushing them to be as close as of twins, I’ve experienced that through what we were told by my father and mother, then by my father alone as possible to themselves, as subjective as possible. Then it’s up to me to try to make my own cooking with all he fathered twins again with a woman who herself was a twin. This is one of the things I hope I’ve managed those ingredients. to film in the scene where they are all dancing. For AFTER LOVE, I constructed and deconstructed many scenes to finally come to a result which is very close to what I had initially imagined, but which sounds more realistic maybe.