In an interview with “MO12345lemonde”, the filmmaker, who says she was inspired by the history of her companion for her second feature film, in competition at the Cannes Festival in 2022, affirms his right to appropriation .
words collected by Jacques Mandelbaum
today aged 37, leaving the Fémis, Léonor Serraille ended up at the Cannes Film Festival from his first feature film, young woman (2017), who won the Golden Camera. She doubles the bet this time, with a little brother in 2022. Two stories of women fiercely fighting for their freedom. The first follows a pre -key and fairly crazy thirties (Lætitia Dosch) in the streets of Paris on Gil Evans (Las Vegas Tango). The second is put in the footsteps of a young African mother, Rose (Annabelle Lengronne), recently landed with her two children in the Parisian suburbs, on Jean-Sébastien Bach (the well-tempered, prelude and fugue keyboard n ° 14 minor dropout). Nothing surprising, as the art of counterpoint can be defined as one of the most beautiful assets of the cinema of Léonor Serraille.
freedom, spiritual and sexual, of Rose, the main character of the film, is the most visible element of your film. But does she do, herself, of your own freedom of staging?
The process of writing is a bit, for me, like the creation of a family, in which it is necessary that everything is believed as a family and as an individual. It is essential to build a bridge between the character and the spectator. My sister must, for example, be able to recognize herself in pink, otherwise it is lost. Suddenly, the questions of the subject, the politics, the origin of the characters, the color of the skin, gradually fade in favor of the subject of the family, which is the one that precisely interests me. I have nothing special to say about blacks in fact, but much more about individuals, who are always a plurality of things.
in doing so, do not be afraid to erase the parameters socio -political who determine your characters?
Bring them back more than I do, it would be shooting another film. I didn’t want a militant film, even if I believe it is justified to do it. I wanted to be able to tell this woman in various intimate aspects, her relationship to her work, her relationship to her children, but also her sentimental life, she is entitled to it. What matters to me is that social status or the origins of a character do not always order the same type of representation. There is actually no good reason for this.
where this sweetness come from in your film, the quotes from Pascal, Flaubert or Rimbaud, or the use of the “Keyboard Well Temperate “, by Jean-Sébastien Bach?
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