“Le Monde” met the filmmaker who questions, in her films, the stability of affective relationships.
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Alice Winocour arrives smiling and light in this corner, hidden with eyes, from the café de la rue de Turenne, in Paris, where she has her habits. Carried out in the heat wave, the interview will not be long before it, to get worse.
We’re here to talk about reviewing Paris, her new film, what led him to take an interest in the 2015 terrorist attacks, even more on the condition of his survivors, with their life in Ravaud, now, now, In the shade of post-trauma. It quickly appears that deep family foundations, on several floors, determine its movement towards the film. If their evocation comes strongly during our meeting, a hook is however necessary to make them resonate in the life and work of the filmmaker.
This 46 -year -old Parisian took some time to dive into the career. However, she saw a childhood bathed by cinema: “My parents, a little hippies and very moviegoers, thought that we could almost show everything to the children. I saw a lot of films very early and tied an intimate relationship and Obsessive with cinema. Psychosis, for example, from Alfred Hitchcock, has become our bedside film with my brother, we were passing it every day, it was at the center of our games. I have a less intellectual report That nervous, sensory, in the cinema. “She is nonetheless studying for four years criminal law at the University of Assas:” I was hardly going to classes, I was in the cinema all day, But, in my head, I was of course going to be a lawyer. “
Entry to the Fémis, prestigious film school, of which she tries the competition as a “bet”, corrects the shooting, although it is at first part of the scenario section. Here again, it will be necessary to decan. Alice Winocour believes in the power of the unconscious. He guided “almost all the things I have done in my life,” she said. And it is by writing Augustine’s scenario for someone else that she realizes that she wants to realize it. The film is released in 2012, she is 36 years old. He stages the relationship between Professor Charcot and the young patient from popular environments which will allow him to lay the foundations of hysteria. It is less the medical discovery that concerns the filmmaker than this mixture of attraction and impediment, subjugation and revolt, which puts under tension two close bodies.
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