French Rendez-Vous 2016: Award-winning “Fatima” and Louis Garrel’s directorial debut

Rendez-Vous with French Cinema had early screenings of “Fatima” which received the Cesar, the French Academy Award, for Best Film and Best Adapted Screenplay. With its short 79 minute running time, the film is more of an overview than a deep study of its characters. But this film remains a compelling portrait of Fatima, a middle-aged single mother (Soria Zeroual) and her two much more assimilated daughters living in France. The older daughter (Zita Hanrot, Cesar for Most Promising Actress) is a medical student.

Soria Zeroual and Zita Hanrot in "Fatima"

Soria Zeroual and Zita Hanrot in “Fatima”

The not always appreciated mother tries to fit into a different culture, even facing scorn from some Muslim neighbors. The film builds to a poignant conclusion as Fatima frankly expresses her intimate feelings about life in an adopted country.

Louis Garrel (“The Dreamers”) was at Rendez-Vous with his directorial debut, “Two Friends” (“Les Deux Amis”), an engaging if not original film about the conflict between two male friends that develops when one (Vincent Macaigne) becomes attracted to a female convict (Golshifteh Farahani) on work release in a railway station. Garrel plays the worldlier friend. Surprisingly the film was co-written by Garrel and Christophe Honore who directed Garrel in more unique and intense films (“Love Songs”, “Ma Mere”).

Louis Garrel at Rendez-Vous

Louis Garrel at Rendez-Vous

After the screening Garrel called his film a short “Rules of the Game” and added that the menage a trois is a “gold mine” for conflicts. He said the film shows the “transfer of power” between the two friends after the complication of a third party.

French Rendez-Vous 2016: “Disorder” and Diane Kruger

Director Alice Winocour (“Augustine”) and Diane Kruger were in New York for Rendez-Vous with French Cinema to discuss their film “Disorder”. Winocur expertly builds tension through editing and sound in this thriller about Vincent, a former soldier with PTSD, another impressive performance from Matthias Schoenaerts (“A Bigger Splash”).

Matthias Schoenaerts in "Disorder"

Matthias Schoenaerts in “Disorder”

Close-ups of a shaking hand show the lingering trauma of the war in Afghanistan for the former soldier. He is hired as security for a shady Lebanese financier. When the financier leaves for business, Vincent becomes guard for the rich man’s trophy wife (Diane Kruger). Winocur has staged gripping scenes of suspense as the new bodyguard must protect the woman and her family from mounting threats.

Rendez-Vous with Diane Kruger and Alice Winocour

Rendez-Vous with Diane Kruger and Alice Winocour

After the film, Winocour said that she is obsessed with dysfunction. She chose Schoenaerts because his role was “very physical.” She described Kruger’s role as a “perfect trophy wife who liberates herself.” Kruger said her character is married to a “much older” man and “locked in a golden cage…not comfortable.” The film was called an “impossible love story” where Winocour said “he awakens her.”

Diane Kruger, who was born in Germany, said she’s neither American nor French unlike most of her film work. Appearing in large budget films like “Troy” as well as in smaller scale choices, Kruger described herself as “not typecast” which opens doors in her career.

Rendez-Vous with Diane Kruger

Rendez-Vous with Diane Kruger

Director Winocour spoke of using sound and music to “express the violence of war.” She described “Disorder” as having a “dark romanticism” and remaining on the point of view of the paranoid bodyguard to “understand what he understood.” She wanted to bring “heightened senses” to the film where the “real world seems crazy.”

French Rendez-Vous 2016: Huppert on Huppert

A high point of the latest Rendez-Vous with French Cinema in New York City was an appearance by Isabelle Huppert to discusses her enduring career. It was mentioned at the event that she has appeared in 128 films.

This actress often makes fearless choices in her roles. Even in comedy. In her 2013 “Tip Top”, she played a policewoman who enjoyed physical pain, happily licking up blood dripping from her nose. In her recent “Elle”, directed by Paul Verhoeven, she portrays a woman who has an unorthodox approach to a sexual assault.

Huppert said that in choosing a film “I look for a good director in the first place. I like to expand my space of investigation…not stay in my home county.” She considers “cinema connected to travelling”, having a “double significance”, adding “I like to explore new territories.” She compared acting in film to “travelling in self”, an “inner trip.”

Isabelle Huppert at Rendez-Vous with French Cinema      (c) Ed Scheid

Isabelle Huppert at Rendez-Vous with French Cinema (c) Ed Scheid

She said that a “great relationship” between actor and director is “quite unique…extraordinary” and “exploratory.” She spoke of having “quality moments in life” spent with a director, including seven films shot with director Claude Chabrol. She joked that after she makes a film with a director, it’s frustrating when he chooses another actress for his next film instead of asking her.

Huppert said that Chabrol “never idealized cinema”, treating “his characters as human beings”, as in “Violette” (1978), being “as honest as possible” in their film about a young woman who tries to poison her parents. She said Chabrol was “as accurate as possible” in “Story of Women” (1988) in which her adulterous character who performed secret abortions during WWII was “not nice” in “my observation.”

The staging, Huppert believes “gives the right answer” to a film where “camera movement has to be right.” She said that each film has “it’s own organic movement.” She described her 2012 hostage kidnapping film “Captive”, from Filipino director Brillante Mendoza as physical and “amazing” and quite different from the films she made with Michael Haneke (“The Piano Teacher”, “Amour”).

Isabelle Huppert at Rendez-Vous with French Cinema      (c) Ed Scheid

Isabelle Huppert at Rendez-Vous with French Cinema (c) Ed Scheid

In her recent “Valley of Love” (https://cinemasight.wordpress.com/2016/04/10/french-rendez-vous-2016-huppert-and-depardieu-in-valley-of-love/), Huppert appears with Gerard Depardieu for the first time in over 30 year, since “Loulou” in 1980. She had appeared in “The Nun” (2013) (https://cinemasight.wordpress.com/2013/08/26/french-rendez-vous-2013-the-nun/), a previous film from Guillaume Nicloux, the director of “Valley of Love”. She liked the roughness he brought to the earlier period film, instead of being very dry like she feels many costume films are. Huppert thought the chemistry with Depardieu would be “interesting.” She found the heat of the Death Valley setting of “Valley” “inconceivable”, but later added that “human nature can get used to any extreme situation.”

She said that this movie could be interpreted in many ways, including as a “spiritual, mystical metaphor about cinema”. In this film the characters played by Huppert and Depardieu receive a letter from their dead son to visit certain locations in Death Valley. Huppert said “The son is really director” who “pulls strings” on his parents.

Huppert will soon make another film with Depardieu. She described herself not being too influenced by their previous experience working together. She called him “just an actor with whom I have a great relation as actress.” She said they “play well” together, adding “we don’t talk much, before or after” filming a scene.

Isabelle Huppert at Rendez-Vous with French Cinema      (c) Ed Scheid

Isabelle Huppert at Rendez-Vous with French Cinema (c) Ed Scheid

When asked if she would want to direct, Huppert answered “No, too lazy, maybe out of curiosity…an expensive curiosity.’ She described herself as “fulfilled as an actress.” She begins with the “outside vision of character”. She called the costume the “first sign” of a character…essential, what we first see.” For her, being able to “transform (her)self” is a “great pleasure.”

Huppert was asked to name favorites of her films. She mentioned two very different experiences. She “warmly” recommended the controversial high-budget Western “Heaven’s Gate” (1980) for which she spent seven months filming, calling it a “great masterpiece.”

She described her 2012 South Korean film “In Another Country”, written and directed by Hong Sang-soo as “one of the most interesting…a special adventure.” Three stories dealing with a foreigner were built around her. For the day’s filming, she received screenplay pages each morning. Filming was “so precise, nothing was improvised.” She called Hong Sang-soo a “great director.”

Isabelle Huppert at Rendez-Vous with French Cinema      (c) Ed Scheid

Isabelle Huppert at Rendez-Vous with French Cinema (c) Ed Scheid

Huppert added that “I think my youngest son hasn’t seen ‘The Piano Teacher'”, one of her controversial films for which she was chosen Best Actress at Cannes in 2001.

Huppert said that she liked “White Material” (2009), adding that “films are political”, with a “certain vision of the world.” She said Claire Denis, this film’s director/co-writer wanted to describe the point of view of a woman determined to continue running a plantation in an African country during a time of upheaval. She said Denis wanted to give power to the victim, adding “this woman was viscerally attached to this piece of land…and why she wanted to stay there.”

She added “What you expect of a film…to make people think, that’s already very political.” She said that she doesn’t “ferociously seek out” films with a “very loaded context.”

On choosing favorites of her films, Huppert said “I don’t want to choose, I love them all.”