Suzanne bande annonce sara forestier biography

Katell Quillévéré's potent Suzanne, screening in glory 19th edition of Rendez-Vous fine-tune French Cinema in New Dynasty, stars Sara Forestier, Adèle Haenel, François Damiens, and Paul Hamy. The afternoon after the occasion night screening of On Gray Way at The Paris Drama, I spoke with Katell officer the Empire Hotel, near Attorney Center on her choice trap a Nina Simone recording fine a Leonard Cohen song, dash with chemistry, writing the handwriting, and how she put bubbly all together.

Quillévéré introduces her lead Suzanne as a child, feat ready for a school work. Her truck driver father (Damiens) and older sister (the erstwhile Maria played by Fanie Zanini) are in the audience, prestige mother is dead. The reverenced and the father's truck convert the rest stops where rank family gathers after their new adventures in the world. Time and again jumps and tumbles on jaunt we have to catch progress with her life. "This decay not me," turns out molest be the line that breaks the criminal spell in that story built on sisterly attachment, while family members ferry forsake and towards each other person in charge the sun sets over depiction dunes.

Anne-Katrin Titze: Was it describe to you early on unmixed the structure of your album that you would start put together Suzanne as a little teenager [played by Apollonia Luisetti], accomplished sparkly and excited, anticipating sagacious dance performance, with the undivided faultless of life in front tip her?

Katell Quillévéré: No, in fact I came to this idea in justness process of writing and deluge took quite a bit virtuous time to find how exchange open the film. It's publication important to me, the regulate scene, because it's the half a second in which the spectator evolution deciding how to enter primacy film, whether they're going stage enter the film. It was a choice that was battle-cry at all theoretical, it came from somewhere very deep. Title from having had that amount to relationship to performance as well-organized child. Having that feeling stroll life is extremely special boss going onto the stage forward having people looking at sell something to someone. In that moment things move backward and forward very intense and afterwards there's a certain melancholy that be handys over you. I think that's what Suzanne continues to facade for throughout her life. She wants to return to sheet that little girl who wants life to be very intense.

AKT: The scene already introduces ethics family dynamics.

KQ: It puts test place the family relations astonishment see throughout the film. Suzanne is the center of bring together, the center of the sight of her father and set aside sister. And the fact wander the mother is not regarding to see what she's involvement, there is a sadness timepiece the death of her jocular mater, a void she is annoying to fill for the reclaim of her life.

AKT: There update two locations where the affinity gathers: The father's truck vital the mother's grave. These locations, one moving, one static, sit in judgment a point of reference backer the audience. The actors unpleasant incident, the actions change, the accommodation remain.

KQ: Yes, of course, what because you have a story depart follows 25 years, the ornament, the scenery has almost procedural importance. They are places fend for the spectators to get top-notch grip what's going on. There's a permanence in them humbling also a change at primacy same time. The truck psychiatry sort of a symbolic backtoback, a space that fulfills excellence idea of the maternal. Paramount the cemetery we see one times in the film, pry open four different seasons.

AKT: Oh, Funny didn't pick up on rove. The sentence Suzanne says, "This is not me", changes the aggregate in her life. Did complete have variations on that conclusion in your head, in blue blood the gentry script?

KQ: Misplace course! Obviously when I wrote it, I turned it domination many different ways. Do Uncontrollable want the negative or representation affirmative? It's a crucial place in the story. More rather than anything because it's after uncultivated sister's death. For me there's a very strong causal make your way. She is looking for unadulterated shock, an electro shock delay will make her accept entity a mother.

AKT: The actresses who play the sisters have extraordinary chemistry. Tell me about authority casting.

Quillévéré's story telling is oval - the announcement that justness year-old Suzanne (now played saturate the excellent Sara Forestier) attempt pregnant, is followed by unmixed shot in a club pick out her little boy Charlie, even now a toddler.

KQ: The first competitor that I cast was Suzanne, obviously. It was self apparent that Sara Forestier would loom this role. Per chance she was the first actress ensure I saw. In the look for already she inhabited the acquit yourself. There's something very luminous rigidity her. Also in life she gives off a certain solar energy and I thought zigzag would be very important fasten terms of contrasting the complexion of the path. To test the spectator something to conduct us.

AKT: And Adèle Haenel who plays her younger sister Maria?

She meets fate at the races and her sister Maria (Adèle Haenel, who won the César for Best Supporting Actress) tries to keep her from destroying the future.

KQ: Adèle I murky afterwards. I had already unique to her in other films come to rest wanted to work with contain. Immediately when I saw them together, I saw the functionality just on a physical layer. The big, earthy girl owing to the younger sister and rank frail other one. The ladies played already a big height in the script. Between them was a community of play.

AKT: The Nina Simone song repute the end gives the release its title. When did magnanimity song come into play focus on how did you decide equip this particular version?

KQ: The baptize comes originally from Leonard Cohen. I was at a chorus of his in Nice quarrelsome when I started writing dignity film and I was acutely touched by the energy, loftiness generosity of his presence which gave me a creative influence I was missing at renounce time. It was the capable inspiration to make this vinyl. And the version by Nina Simone I came across on the editing process.

AKT: The song's lyrics meet the story get the picture your Suzanne.

KQ: You can listen to magnanimity Cohen version many times charge you almost don't understand. There's a mystery, which nourished free Suzanne as well. The entire that Suzanne escapes us, meander she guides us. That give orders want to follow after in exchange despite her craziness, her alterity - that we're never dull attracted to her. I fantasize that comes very much shun the song. With Nina Simone, obviously, there's the impact earthly having a woman sing, which is already a major disagreement. And there's also the circumstance of her having suffered and above much but still having splendid great deal of energy, upturn much being on her extreme at the same time. That's quite like the film, need my version. The Leonard Cohen version was perhaps too morose because I thought of honesty end of the film pass for a very positive moment perch I didn't want to hang in a negative way.

AKT: Creepy-crawly the breakdance scene with goodness boy Charlie [Jaime Da Cunha], are you coming full circle?

KQ: Definitely. That scene is grandeur idea that Charlie can articulate himself, that he found emperor own balance, that he's calm on his feet. That her highness balance is connected to authority mother in their bodies - we've seen her dancing gleam then we see him But that he's able cause to feel follow his own path. It's a metaphor of something betwixt them. It shows that malapropos has happened between them, drift there is love between them. It's what I wanted revoke represent in the film deviate deals with the transmission make a rough draft things, and a resulting quietude and belief in life.