1
00:00:32,125 --> 00:00:34,208
The film starts with a white screen.

2
00:00:35,208 --> 00:00:40,041
And it starts in a totally literal way.
It chooses to examine the first mark.

3
00:00:41,083 --> 00:00:44,916
The first sketch, visibly feminine.

4
00:00:50,625 --> 00:00:52,875
The cinema screen as a canvas.

5
00:00:53,000 --> 00:00:56,750
This literality is like a pact
made with the audience.

6
00:01:01,666 --> 00:01:03,458
There is austerity and silence too.

7
00:01:12,458 --> 00:01:14,625
First, my contours.

8
00:01:14,750 --> 00:01:17,250
These eyes darting up and down...

9
00:01:17,375 --> 00:01:18,375
The outline.

10
00:01:18,500 --> 00:01:20,833
...are part of the journey
that this situation takes,

11
00:01:20,958 --> 00:01:23,500
the dynamic between
the painter and the model.

12
00:01:25,250 --> 00:01:26,250
The back and forth.

13
00:01:26,708 --> 00:01:28,375
Not too fast.

14
00:01:28,500 --> 00:01:29,708
I really wanted to film it.

15
00:01:32,000 --> 00:01:34,500
The film is playful from the start.

16
00:01:34,625 --> 00:01:36,250
Take time to look at me.

17
00:01:36,375 --> 00:01:39,458
Because it places the painter
in the position of the model.

18
00:01:40,958 --> 00:01:42,375
And it creates the desire
to see her.

19
00:01:44,833 --> 00:01:46,791
See how my arms are placed.

20
00:01:46,916 --> 00:01:49,750
And it instructs us
to spend time looking at her.

21
00:01:49,875 --> 00:01:50,958
My hands.

22
00:01:53,875 --> 00:01:55,916
If we obey,
we see her clenching her hand.

23
00:01:57,958 --> 00:02:00,708
And our darting eyes engage us.

24
00:02:00,833 --> 00:02:02,458
Who brought that painting out?

25
00:02:04,833 --> 00:02:07,583
Opposite her
there is a mysterious painting.

26
00:02:07,708 --> 00:02:09,208
It creates a desire to see it.

27
00:02:11,750 --> 00:02:13,791
I found it in storage.
Shouldn't l have?

28
00:02:20,125 --> 00:02:21,625
Did you paint it?

29
00:02:24,791 --> 00:02:25,791
Yes.

30
00:02:26,875 --> 00:02:29,291
The first tracking shot of the film.

31
00:02:30,916 --> 00:02:31,916
A long time ago.

32
00:02:32,041 --> 00:02:35,333
It looks simple, but we had to remove
all the furniture and all the human beings

33
00:02:35,458 --> 00:02:36,666
to show the desired image.

34
00:02:36,791 --> 00:02:38,291
What's the title?

35
00:02:39,833 --> 00:02:41,583
The title is spoken.

36
00:02:41,708 --> 00:02:44,208
Portrait of a Lady on Fire.

37
00:02:44,333 --> 00:02:47,000
Whereas it was written
to be seen.

38
00:02:58,333 --> 00:03:01,416
We jump to an action scene.

39
00:03:05,375 --> 00:03:06,583
A scene...

40
00:03:08,125 --> 00:03:09,333
...on the open sea.

41
00:03:14,500 --> 00:03:17,083
It's the sort of scene
which demands all the crew's attention

42
00:03:17,208 --> 00:03:18,625
while it is being prepared,

43
00:03:18,750 --> 00:03:22,791
checking the tide tables,
finding the right boat, the extras.

44
00:03:24,083 --> 00:03:27,083
It's a scene with danger,
it's a scene with a stunt

45
00:03:28,083 --> 00:03:29,458
with a lot of elements to film.

46
00:03:34,458 --> 00:03:36,916
On the whole, these are the scenes
you get asked about the most.

47
00:03:38,791 --> 00:03:41,041
My response to this sequence
is quite simple.

48
00:03:41,166 --> 00:03:43,083
I was thinking of Hergé, of Tintin.

49
00:03:43,208 --> 00:03:45,041
for the shot of the crate.

50
00:03:50,375 --> 00:03:53,291
And I wanted the heroine
to jump into the water,

51
00:03:53,416 --> 00:03:56,291
breaking with convention
from the start.

52
00:03:56,416 --> 00:03:58,833
She jumps in feet first
and the film jumps in feet first.

53
00:04:16,291 --> 00:04:17,416
We arrive on an island.

54
00:04:18,750 --> 00:04:21,625
Some people have said to me,
perhaps we've left an island.

55
00:04:23,500 --> 00:04:26,000
It's a very wide shot,
one of the widest in the film.

56
00:04:26,125 --> 00:04:29,541
The start of a wonderful collaboration
between Claire Mathon and nature.

57
00:04:31,416 --> 00:04:33,375
It's clearly also a nod to Jane Campion.

58
00:04:40,875 --> 00:04:44,291
The physicality of our heroine is
the first thing we're aware of, her body.

59
00:04:45,208 --> 00:04:46,625
Her costume is heavy.

60
00:04:48,541 --> 00:04:52,041
That dress, that outfit, that costume
was the first thing I had

61
00:04:52,166 --> 00:04:53,583
to help me get into character.

62
00:04:53,708 --> 00:04:55,125
Where do I go?

63
00:04:56,250 --> 00:04:57,250
Very heavy clothes.

64
00:04:57,375 --> 00:04:59,416
Head straight up to the trees.

65
00:05:00,458 --> 00:05:02,708
With lots of layers
and underlayers

66
00:05:02,833 --> 00:05:05,041
like the film itself.

67
00:05:06,333 --> 00:05:09,666
The oppression,
the burden placed on women.

68
00:05:10,875 --> 00:05:14,208
So, it was quite a direct way
of getting into character.

69
00:05:15,208 --> 00:05:19,666
How, in spite of everything,
Marianne inhabits this costume,

70
00:05:19,791 --> 00:05:22,458
finding her freedom in it
and making it her own.

71
00:05:37,375 --> 00:05:39,666
A new dynamic begins.

72
00:05:41,750 --> 00:05:43,875
A dynamic of sequence shots
and movement.

73
00:05:45,041 --> 00:05:46,541
And especially a sound dynamic.

74
00:05:48,708 --> 00:05:50,291
There is a new face.

75
00:05:51,333 --> 00:05:52,541
I'm Marianne.

76
00:05:52,666 --> 00:05:53,750
Likeable from the start.

77
00:05:54,833 --> 00:05:55,875
Luéna Bajrami.

78
00:06:03,666 --> 00:06:08,833
Miraculously, we found
the chateau in that state.

79
00:06:10,833 --> 00:06:12,625
It brings the era to life
if you can find places

80
00:06:12,750 --> 00:06:15,125
which still contain
elements and echoes of it.

81
00:06:19,541 --> 00:06:21,458
Places you want to look at

82
00:06:21,583 --> 00:06:22,791
and also adorn.

83
00:06:27,750 --> 00:06:29,625
Here there is very little at play,

84
00:06:29,750 --> 00:06:32,000
just the reverberating footsteps.

85
00:06:32,125 --> 00:06:34,541
And the acoustics of a room
which will become key.

86
00:06:47,208 --> 00:06:49,708
80% of the film takes place
in this studio.

87
00:06:54,250 --> 00:06:58,541
It was a gamble to move into a space
and to decide to create rituals there

88
00:06:58,666 --> 00:07:00,833
and to film it differently every time.

89
00:07:02,666 --> 00:07:05,750
It was a reception room.
I've never seen it used.

90
00:07:07,500 --> 00:07:09,291
Have you been here long?

91
00:07:09,416 --> 00:07:11,375
Three years.

92
00:07:11,500 --> 00:07:14,541
We decided from the start
to have a minimal set.

93
00:07:14,666 --> 00:07:15,666
Do you like it here?

94
00:07:15,791 --> 00:07:17,833
With very few props.

95
00:07:17,958 --> 00:07:20,541
Most of the furniture was purpose-built.
That bed, for example.

96
00:07:21,458 --> 00:07:23,000
And that crate.

97
00:07:23,125 --> 00:07:25,250
I'll let you get dry.

98
00:07:25,375 --> 00:07:28,666
There isn't much ornamentation,
no worldly goods.

99
00:07:30,291 --> 00:07:33,125
We didn't change
the colour of the walls.

100
00:07:33,250 --> 00:07:34,750
We built that fireplace.

101
00:07:53,541 --> 00:07:56,166
Here the sound starts to build.

102
00:07:56,291 --> 00:07:58,250
There is the sense
that a storm is brewing.

103
00:08:00,708 --> 00:08:02,541
Something stirring in the distance.

104
00:08:04,291 --> 00:08:08,458
Recreating the sound
was quite complex too.

105
00:08:08,583 --> 00:08:10,000
We use a lot of contemporary notes.

106
00:08:10,125 --> 00:08:13,083
I really like modern notes
which are...

107
00:08:15,166 --> 00:08:20,583
All the electric sounds, let's say.

108
00:08:20,708 --> 00:08:22,541
Planes high up in the sky

109
00:08:22,666 --> 00:08:24,416
as a soundtrack
to the 18th century scene.

110
00:08:24,541 --> 00:08:25,875
There's the wind and the sea.

111
00:08:27,250 --> 00:08:28,333
And the fire.

112
00:08:33,291 --> 00:08:35,041
I wanted the character to smoke.

113
00:09:05,791 --> 00:09:08,416
We tried to instil faith
in the sequence shot

114
00:09:08,541 --> 00:09:10,750
and the tension
of the sequence shot.

115
00:09:16,500 --> 00:09:18,416
The challenge of the lighting
was the candles.

116
00:09:18,541 --> 00:09:20,541
We made a radical choice

117
00:09:20,666 --> 00:09:22,666
to have very few light sources

118
00:09:23,958 --> 00:09:25,083
and...

119
00:09:27,333 --> 00:09:29,375
...to have very few candles.

120
00:09:29,500 --> 00:09:31,125
There is the fire in the rooms.

121
00:09:31,250 --> 00:09:33,750
But the actresses
are always topped

122
00:09:33,875 --> 00:09:36,708
by a network of lights
which follows them all the time.

123
00:09:39,541 --> 00:09:41,750
They are followed
by the sound and the light.

124
00:10:18,750 --> 00:10:20,791
Sony, lhelped myself.

125
00:10:20,916 --> 00:10:22,125
l was hungry.

126
00:10:24,958 --> 00:10:26,541
Is there any wine?

127
00:10:26,666 --> 00:10:27,791
Yes.

128
00:10:47,083 --> 00:10:48,708
May I be curious?

129
00:10:52,583 --> 00:10:56,041
A horizontality is set up quite quickly
between the characters.

130
00:10:56,166 --> 00:10:58,625
The discussions are frank
and to the point.

131
00:10:58,750 --> 00:11:00,583
What is your young mistress like?

132
00:11:01,958 --> 00:11:03,208
I don 't know her well.

133
00:11:03,333 --> 00:11:06,166
The film has chosen not to toy
with class hierarchies.

134
00:11:06,291 --> 00:11:08,750
You've been here three years.

135
00:11:08,875 --> 00:11:10,583
She only arrived a few weeks ago.

136
00:11:10,708 --> 00:11:12,875
This is a dynamic
which will blossom.

137
00:11:13,000 --> 00:11:14,166
Where from?

138
00:11:14,291 --> 00:11:15,833
Into a sisterhood and a friendship.

139
00:11:15,958 --> 00:11:17,125
The Benedictines.

140
00:11:19,083 --> 00:11:20,833
Has she left holy orders?

141
00:11:23,125 --> 00:11:24,666
They brought her home.

142
00:11:24,791 --> 00:11:28,916
Sophie is a servant,
but she doesn't act like one.

143
00:11:29,041 --> 00:11:30,708
Her sister died.

144
00:11:31,958 --> 00:11:33,291
She was the one due to many?

145
00:11:33,416 --> 00:11:35,708
She only appears in a scene
when she has something to add,

146
00:11:35,833 --> 00:11:38,125
a plan, a role to play.

147
00:11:38,250 --> 00:11:40,666
She's never incidental,
an accessory.

148
00:11:40,791 --> 00:11:42,000
Did disease take her?

149
00:11:43,458 --> 00:11:45,458
We see her thinking.

150
00:11:51,000 --> 00:11:52,708
Will you manage it?

151
00:11:55,291 --> 00:11:56,583
Manage what?

152
00:11:58,083 --> 00:11:59,666
To paint her.

153
00:11:59,791 --> 00:12:01,875
Why do you ask?

154
00:12:02,000 --> 00:12:03,666
Another painter was here.

155
00:12:06,583 --> 00:12:09,166
He wasn't able to.

156
00:12:09,291 --> 00:12:10,666
What happened?

157
00:12:15,458 --> 00:12:16,916
I don 't know.

158
00:12:26,333 --> 00:12:28,875
Here we discover the surroundings.

159
00:12:32,125 --> 00:12:34,125
And we are between two traditions:

160
00:12:35,375 --> 00:12:37,833
video games from the 19903,

161
00:12:37,958 --> 00:12:40,166
Alone in the Dark,
the point-and-click,

162
00:12:40,291 --> 00:12:42,208
or more recently Escape Room.

163
00:12:42,333 --> 00:12:45,625
We discover all the objects
which will be used by the character.

164
00:12:46,708 --> 00:12:48,208
And another tradition,

165
00:12:49,166 --> 00:12:50,875
that of fantasy films.

166
00:12:53,375 --> 00:12:55,666
Playing with mirrors
and perspective.

167
00:12:55,791 --> 00:12:57,625
A desire, too, for inanimate objects.

168
00:13:05,250 --> 00:13:06,458
A tracking shot.

169
00:13:07,625 --> 00:13:09,458
Towards a canvas,
turned to face the wall.

170
00:13:12,625 --> 00:13:15,625
A choreography incorporating
the wind, breath and footsteps.

171
00:13:18,916 --> 00:13:20,791
Fear is often conveyed by sound.

172
00:13:39,250 --> 00:13:40,750
The portrait with no face,

173
00:13:41,833 --> 00:13:45,708
which acts as a link shot
which was written into the screenplay,

174
00:13:45,833 --> 00:13:46,833
considered.

175
00:13:49,083 --> 00:13:51,875
This dress without a head
which does now have feet

176
00:13:52,000 --> 00:13:53,625
but still not the right head.

177
00:13:55,250 --> 00:13:59,375
We start to create a desire
for the revelation of the face

178
00:14:00,416 --> 00:14:01,916
of this mysterious young woman.

179
00:14:05,833 --> 00:14:07,541
We used long shots for that.

180
00:14:10,125 --> 00:14:12,166
I'm afraid it's the only one.

181
00:14:12,291 --> 00:14:14,458
We used long shots,
but we know her in real life.

182
00:14:14,583 --> 00:14:16,750
We know it's Adéle Haenel
and we know her face well.

183
00:14:18,541 --> 00:14:19,541
She has no dresses yet.

184
00:14:19,666 --> 00:14:23,416
That green dress is the only
conventional dress in the film.

185
00:14:23,541 --> 00:14:24,791
It's in the style of Watteau,

186
00:14:24,916 --> 00:14:28,750
the style people choose
when they want to recreate that era,

187
00:14:28,875 --> 00:14:32,208
because it's beautiful
and very pictorial, identifiable.

188
00:14:33,291 --> 00:14:37,875
We selected coarser fabrics
for the rest of the costumes:

189
00:14:38,000 --> 00:14:40,833
cottons and linens
more everyday materials.

190
00:14:42,333 --> 00:14:43,500
Do you recognise it?

191
00:14:43,625 --> 00:14:45,041
But with strong colours.

192
00:14:46,125 --> 00:14:47,541
My father painted it.

193
00:14:49,833 --> 00:14:53,291
Here the countess
arrives on the scene.

194
00:14:53,416 --> 00:14:56,208
It was in Milan,
before my marriage.

195
00:14:56,333 --> 00:14:57,791
Played by Valeria Golino.

196
00:15:00,041 --> 00:15:03,291
I had Valeria in mind
when I wrote the screenplay.

197
00:15:03,416 --> 00:15:06,041
My daughter's suitor is Milanese.

198
00:15:06,166 --> 00:15:08,541
We 'll go there
if he likes the portrait.

199
00:15:08,666 --> 00:15:09,750
You'll leave.

200
00:15:09,875 --> 00:15:11,333
I wanted it to be Italy.

201
00:15:11,458 --> 00:15:13,000
l have to tell you...

202
00:15:13,125 --> 00:15:14,541
A 50-year-old woman.

203
00:15:14,666 --> 00:15:16,541
She wore out one painter before you.

204
00:15:16,666 --> 00:15:18,041
With all that that age promises.

205
00:15:18,166 --> 00:15:21,208
In a very simple manner,
she refused to pose.

206
00:15:21,333 --> 00:15:22,500
That physique, that beauty.

207
00:15:22,625 --> 00:15:23,833
He never saw her face.

208
00:15:23,958 --> 00:15:26,250
I didn't want
a cantankerous old woman.

209
00:15:26,375 --> 00:15:27,875
She refuses this marriage.

210
00:15:28,000 --> 00:15:29,416
That would have been too brutal.

211
00:15:32,500 --> 00:15:34,208
Even though she embodies authority,

212
00:15:34,333 --> 00:15:37,208
even though it's a relief
when she disappears...

213
00:15:37,333 --> 00:15:40,083
She thinks
you're a companion for walks.

214
00:15:40,208 --> 00:15:41,708
...there is a horizontal relationship.

215
00:15:41,833 --> 00:15:43,250
She's delighted.

216
00:15:43,375 --> 00:15:45,791
Since she arrived,
I don 't let her out.

217
00:15:45,916 --> 00:15:47,000
They speak frankly.

218
00:15:47,125 --> 00:15:48,416
Why not?

219
00:15:50,958 --> 00:15:52,958
I wasn't wary enough
with her sister.

220
00:15:55,291 --> 00:15:57,208
She's like the big boss
of a video game.

221
00:15:57,333 --> 00:15:58,875
She thinks I'll watch over her.

222
00:15:59,000 --> 00:16:00,166
She explains the rules.

223
00:16:00,291 --> 00:16:02,333
And you observe her.

224
00:16:03,500 --> 00:16:07,416
After this scene
the audience knows what's at stake...

225
00:16:07,541 --> 00:16:09,416
More than being a companion.

226
00:16:09,541 --> 00:16:12,625
...and can give itself up
to the experience.

227
00:16:12,750 --> 00:16:14,875
The portrait arrived here
before me.

228
00:16:19,041 --> 00:16:21,625
When I first entered this room

229
00:16:21,750 --> 00:16:24,041
I found myself facing my image...

230
00:16:24,166 --> 00:16:27,250
We set up a very tight storyline
with lots of rules.

231
00:16:27,375 --> 00:16:29,166
Now we're going to experience it.

232
00:16:37,208 --> 00:16:40,166
Here we see the character
deliberating over her own set.

233
00:16:40,291 --> 00:16:43,708
You see the decisions made
about the positioning of the props.

234
00:16:47,041 --> 00:16:48,125
Chests.

235
00:16:50,083 --> 00:16:51,208
Made of wood.

236
00:16:53,583 --> 00:16:55,208
Nothing ostentatious.

237
00:17:02,875 --> 00:17:04,583
The painter's studio.

238
00:17:04,708 --> 00:17:08,125
We did a lot of work on that,
a lot of research,

239
00:17:08,250 --> 00:17:11,041
both with the set decorator
and with the painter, Helene Delmaire,

240
00:17:11,166 --> 00:17:13,208
who stood in for Marianne
and created the works.

241
00:17:27,041 --> 00:17:28,833
And a new face.

242
00:17:28,958 --> 00:17:32,833
We stuck to what was customary,
the size of the canvas for example.

243
00:17:37,625 --> 00:17:39,708
The various stages needed
for priming the canvas.

244
00:17:46,958 --> 00:17:48,833
Here comes the rule: the curtain.

245
00:17:50,708 --> 00:17:53,625
As a boundary and for secrecy.

246
00:17:59,541 --> 00:18:01,666
All my films thus far
have been based on secrecy.

247
00:18:02,416 --> 00:18:03,416
Come in.

248
00:18:03,541 --> 00:18:06,125
Only, this is the first film
where the secret doesn't last.

249
00:18:06,791 --> 00:18:07,791
Tell me...

250
00:18:07,916 --> 00:18:10,375
It's almost a reservoir, a reserve
for what's about to be said.

251
00:18:10,500 --> 00:18:11,666
How did she die.

252
00:18:14,541 --> 00:18:16,916
We were walking by the cliffs.

253
00:18:17,041 --> 00:18:19,000
She was behind me and vanished.

254
00:18:19,833 --> 00:18:21,458
I saw her broken body below.

255
00:18:24,166 --> 00:18:26,000
- Did you see her fall?
- No.

256
00:18:26,958 --> 00:18:28,166
I think she jumped.

257
00:18:30,916 --> 00:18:32,125
Why do you think that?

258
00:18:35,500 --> 00:18:36,625
She didn't cry out.

259
00:18:42,041 --> 00:18:44,166
This is a really big moment
for the character.

260
00:18:44,291 --> 00:18:46,250
A bit less so for the audience.

261
00:18:46,375 --> 00:18:47,458
That's always annoying.

262
00:18:47,583 --> 00:18:50,583
Because the audience knows
what Adele Haenel looks like.

263
00:18:51,875 --> 00:18:53,541
And it's her we think of.

264
00:18:53,666 --> 00:18:56,291
So I had to create
the frustration again

265
00:18:56,416 --> 00:18:59,250
and the desire to see this face
which we are already familiar with.

266
00:19:01,125 --> 00:19:03,208
I had to choreograph
the desire to see.

267
00:19:05,458 --> 00:19:07,250
How do you reintroduce
a face to the screen?

268
00:19:10,666 --> 00:19:12,041
First by hiding it.

269
00:19:16,666 --> 00:19:19,208
Then by gradually revealing it.

270
00:19:22,416 --> 00:19:23,458
The hair.

271
00:19:29,666 --> 00:19:32,500
By approaching it from behind.

272
00:19:33,041 --> 00:19:34,666
We might see the nape of the neck.

273
00:19:36,875 --> 00:19:38,958
And then by changing the focus.

274
00:19:39,083 --> 00:19:40,375
By adding danger.

275
00:19:43,791 --> 00:19:46,250
A distraction from the face,
a change of direction.

276
00:19:50,250 --> 00:19:51,666
And so, the face appears.

277
00:19:52,583 --> 00:19:53,708
As a surprise.

278
00:19:56,333 --> 00:19:58,083
It offers itself up.

279
00:19:58,208 --> 00:19:59,208
She turns round.

280
00:20:00,375 --> 00:20:01,958
"I've dreamt of that for years."

281
00:20:04,416 --> 00:20:05,500
Dying?

282
00:20:06,625 --> 00:20:07,708
Running.

283
00:20:16,375 --> 00:20:18,500
A Breton landscape,
the Céte Sauvage.

284
00:20:20,333 --> 00:20:22,208
It has the advantage
of not being at all built-up.

285
00:20:23,875 --> 00:20:26,000
Here we relied on nature
to recreate the era.

286
00:20:27,291 --> 00:20:28,708
Or rather to revive it.

287
00:20:32,000 --> 00:20:34,000
This scene was written
into the screenplay.

288
00:20:34,125 --> 00:20:37,333
The idea was to look at Heloise
without seeing her.

289
00:20:38,750 --> 00:20:41,916
And then she notices
the dark look on her face.

290
00:20:43,250 --> 00:20:46,250
But we only decided on the staging
during the shoot.

291
00:20:47,916 --> 00:20:50,000
The idea was for one face
to eclipse the other.

292
00:20:51,166 --> 00:20:54,166
The choreography was done
with the two actresses there,

293
00:20:54,291 --> 00:20:56,166
on the spur of the moment.

294
00:20:56,291 --> 00:20:59,958
At the time I was thinking of Bergman.
Park Chan-Wook springs to mind too.

295
00:21:16,083 --> 00:21:19,333
| constructed the character
in three phases.

296
00:21:19,458 --> 00:21:22,916
I called the first phase,
which is the one we can see now,

297
00:21:23,041 --> 00:21:25,500
the Japanese phase,

298
00:21:25,625 --> 00:21:30,291
because I had a cape so I saw myself
as an intergalactic Japanese emperor.

299
00:21:33,083 --> 00:21:36,416
Its tone, even in the light,
must yield to the cheek,

300
00:21:38,625 --> 00:21:40,000
which is more prominent.

301
00:21:42,583 --> 00:21:44,125
Did you bring a book?

302
00:21:44,250 --> 00:21:46,625
This part of the film
is about self-restraint,

303
00:21:46,750 --> 00:21:48,541
which could be frustrating
at the time.

304
00:21:48,666 --> 00:21:53,000
But it allowed us to build up
this sort of meta-emotion

305
00:21:53,125 --> 00:21:54,833
in the audience.

306
00:21:54,958 --> 00:21:57,166
So I was very careful.

307
00:21:57,291 --> 00:21:59,541
First I had to speak
in a higher voice,

308
00:21:59,666 --> 00:22:01,250
with a clear diction,

309
00:22:01,375 --> 00:22:04,875
to convey as little emotion
as possible.

310
00:22:10,375 --> 00:22:14,208
The attempt to create
this impassive, cold character

311
00:22:14,333 --> 00:22:17,208
was also a political attempt
at resistance.

312
00:22:17,333 --> 00:22:20,000
For me it was a way of saying

313
00:22:20,125 --> 00:22:24,333
that since this former nun was going
to be married against her will,

314
00:22:24,458 --> 00:22:26,333
without her opinion being sought
on her own life,

315
00:22:26,458 --> 00:22:28,333
her only resistance
was through her absence.

316
00:22:29,041 --> 00:22:31,833
Only, the truth is,
you can't really absent yourself,

317
00:22:31,958 --> 00:22:33,625
you can stop yourself from living.

318
00:22:33,750 --> 00:22:34,833
Thank you.

319
00:22:36,375 --> 00:22:37,833
It's odd you sleep here.

320
00:22:42,041 --> 00:22:44,625
She's in a hybrid state.
She's still figuring it all out.

321
00:22:54,208 --> 00:22:57,416
The dynamic of secrecy
begins here.

322
00:22:57,541 --> 00:22:59,750
These scenes appear simple,

323
00:22:59,875 --> 00:23:01,875
but they required
a huge amount of preparation.

324
00:23:05,041 --> 00:23:07,375
These sketches of Adele's face,
for example.

325
00:23:07,500 --> 00:23:09,500
And especially the light
in all the night scenes

326
00:23:09,625 --> 00:23:13,666
which were cleverly constructed
and shot in the middle of the night,

327
00:23:13,791 --> 00:23:15,416
and you can tell.

328
00:23:15,541 --> 00:23:19,208
I love Noémie's face there,
like a child waking up at Christmas.

329
00:23:23,041 --> 00:23:26,916
The first stage is this silhouette,
this bold outline.

330
00:23:28,708 --> 00:23:30,958
Here we are focussing on the work,

331
00:23:31,083 --> 00:23:33,458
on the construction of a work,

332
00:23:33,583 --> 00:23:35,875
showing all the stages,

333
00:23:36,000 --> 00:23:37,750
and showing them in real time.

334
00:23:40,375 --> 00:23:43,833
We filmed 40 minutes
of work at a time,

335
00:23:43,958 --> 00:23:48,708
knowing we'd only keep
the real-time sequence shots,

336
00:23:48,833 --> 00:23:50,416
the actual gestures of the painter.

337
00:23:50,541 --> 00:23:52,458
There were very few cuts,
very few cheats.

338
00:23:55,166 --> 00:23:57,291
Believing in this time of working,

339
00:23:57,416 --> 00:24:01,750
believing in someone
we see thinking and searching,

340
00:24:01,875 --> 00:24:03,333
believing in this rhythm.

341
00:24:08,250 --> 00:24:10,125
This is the wash-drawing stage.

342
00:24:13,291 --> 00:24:16,458
We tried to be radical,
to bring the face to life.

343
00:24:16,583 --> 00:24:17,875
We wanted to be generous.

344
00:24:21,541 --> 00:24:22,833
That was done in real time too.

345
00:24:24,708 --> 00:24:26,833
The work of Noémie Merlant.

346
00:24:26,958 --> 00:24:30,000
She always watched
the painter paint first,

347
00:24:30,125 --> 00:24:33,958
not so that she could
copy her gestures

348
00:24:34,083 --> 00:24:36,083
but so that she could
make them her own.

349
00:24:44,458 --> 00:24:46,666
The way of looking
obviously plays a big part.

350
00:24:53,500 --> 00:24:55,250
Miss. . .

351
00:24:55,375 --> 00:24:56,416
Miss!

352
00:24:59,583 --> 00:25:00,583
She's waiting.

353
00:25:05,500 --> 00:25:08,000
That choreography again,

354
00:25:08,875 --> 00:25:10,625
the curtain on both sides,

355
00:25:11,458 --> 00:25:12,500
the ritual.

356
00:25:16,041 --> 00:25:19,791
And the scarf, which is a device
written into the script.

357
00:25:19,916 --> 00:25:20,916
It's windy.

358
00:25:23,958 --> 00:25:25,125
The scarf crops up here

359
00:25:25,250 --> 00:25:27,333
so that it can feature again
in an hour and ten minutes.

360
00:25:29,041 --> 00:25:30,458
That's how writing works.

361
00:25:37,458 --> 00:25:40,000
It has the advantage
of masking the face

362
00:25:40,125 --> 00:25:41,541
that she is meant to be observing.

363
00:25:44,291 --> 00:25:46,791
Sometimes hiding certain things
allows us to see others.

364
00:25:49,625 --> 00:25:51,958
There was the challenge
of this long tracking shot.

365
00:25:53,291 --> 00:25:55,291
It's a collection of looks
by Adéle Haenel.

366
00:26:08,791 --> 00:26:10,208
And the beach...

367
00:26:11,958 --> 00:26:13,791
...is portrayed
as the end of the world.

368
00:26:15,791 --> 00:26:17,958
We keep feeling as if she's come
to the end of her world.

369
00:26:19,291 --> 00:26:20,750
Tatouine comes to mind.

370
00:26:22,458 --> 00:26:24,125
Intergalactic emperors too.

371
00:26:34,250 --> 00:26:37,250
All these beach scenes were shot
during the first week of filming.

372
00:26:39,375 --> 00:26:44,208
That was when I discovered
what the two actresses were capable of.

373
00:26:46,250 --> 00:26:47,416
Especially...

374
00:26:48,416 --> 00:26:51,541
Adéle Haenel's very precise work
of transformation.

375
00:26:51,666 --> 00:26:52,666
I'd like to bathe.

376
00:26:54,875 --> 00:26:57,208
This was the first scene we shot
where she speaks,

377
00:26:57,333 --> 00:26:59,166
when I discovered her voice.

378
00:27:00,375 --> 00:27:01,583
On a calmer day.

379
00:27:02,458 --> 00:27:04,250
Yes.

380
00:27:04,375 --> 00:27:07,750
That "yes" is a perfectly timed pause.

381
00:27:07,875 --> 00:27:09,083
How long will you stay?

382
00:27:09,833 --> 00:27:10,833
Six more days.

383
00:27:10,958 --> 00:27:13,083
It shows how precise
the work we did together was.

384
00:27:14,666 --> 00:27:16,416
That "yes" always broke my heart.

385
00:27:17,833 --> 00:27:18,833
Do you swim?

386
00:27:22,666 --> 00:27:24,083
The face is revealed.

387
00:27:24,208 --> 00:27:25,458
I don 't know.

388
00:27:25,583 --> 00:27:27,666
The conversation is
about them looking at one another.

389
00:27:27,791 --> 00:27:29,333
It's too dangerous if you don't.

390
00:27:31,208 --> 00:27:33,041
I meant,
I don't know if can swim.

391
00:27:39,208 --> 00:27:40,875
Sound work for the waves.

392
00:27:41,000 --> 00:27:44,208
The sea is the hardest sound to record
because it is always a contradiction.

393
00:27:44,333 --> 00:27:47,416
If the wave is big,
the sound is ill defined and noisy.

394
00:27:49,708 --> 00:27:51,916
If the wave is small,
the sound is well defined.

395
00:27:53,083 --> 00:27:56,000
So we used small waves
to produce the sound of big waves.

396
00:27:56,750 --> 00:28:01,750
The work we did editing the sound
was very precise and very powerful.

397
00:28:03,416 --> 00:28:08,291
The luminosity and the sunshine
weren't written into the screenplay.

398
00:28:08,416 --> 00:28:12,291
You don't choose Brittany in October
for the sunshine.

399
00:28:12,416 --> 00:28:15,375
But you have to learn to welcome
the light as good news.

400
00:28:21,583 --> 00:28:25,583
The director of photography and I
were happy about the luminosity.

401
00:28:25,708 --> 00:28:27,500
We decided it suited the film.

402
00:28:27,625 --> 00:28:29,666
We brought it back from Brittany and...

403
00:28:29,791 --> 00:28:30,791
How was your day?

404
00:28:30,916 --> 00:28:35,166
And then we incorporated it
into our choices about lighting

405
00:28:35,291 --> 00:28:36,291
throughout the film.

406
00:28:39,708 --> 00:28:43,625
She always stays ahead of me
and walks alone on the beach.

407
00:28:43,750 --> 00:28:46,500
Here, what's important
is that the character is drinking beer.

408
00:28:47,708 --> 00:28:49,291
Have you started painting?

409
00:28:50,625 --> 00:28:51,875
Not yet.

410
00:28:53,250 --> 00:28:54,875
I haven't even seen her smile.

411
00:28:56,791 --> 00:28:58,291
Have you tried to be funny?

412
00:29:10,625 --> 00:29:13,125
The palette was a prop
that terrified me.

413
00:29:14,166 --> 00:29:18,833
It was purpose-built,
like so many of the props in the film.

414
00:29:23,541 --> 00:29:28,333
Here she's working on the image,
on the painting.

415
00:29:28,458 --> 00:29:32,000
We decided to film it
in very high definition

416
00:29:32,125 --> 00:29:34,625
to get the effects of the materials

417
00:29:34,750 --> 00:29:36,166
to provide a lot of information.

418
00:29:37,833 --> 00:29:41,083
And then there's the sound editing,
sound effects too.

419
00:29:43,333 --> 00:29:44,333
We worked on...

420
00:29:46,041 --> 00:29:47,458
...the wetness...

421
00:29:48,458 --> 00:29:49,500
...and the touch.

422
00:29:50,500 --> 00:29:52,000
It was very precise work.

423
00:30:12,375 --> 00:30:13,958
Is it unfinished?

424
00:30:14,083 --> 00:30:16,875
This was the first real exchange
between the two characters.

425
00:30:17,000 --> 00:30:20,333
Directing it was a challenge.

426
00:30:20,458 --> 00:30:21,750
Do you think she wanted to die?

427
00:30:21,875 --> 00:30:24,500
Filming a sequence shot
by the sea.

428
00:30:26,416 --> 00:30:29,125
You're the first person
unafraid to ask that.

429
00:30:29,250 --> 00:30:30,708
It's a long scene. It was hard.

430
00:30:30,833 --> 00:30:32,500
Apart from you?

431
00:30:32,625 --> 00:30:34,500
We did lots of takes.

432
00:30:34,625 --> 00:30:36,208
Not out loud. But yes.

433
00:30:36,333 --> 00:30:41,583
We finally decided to do close-ups
on each of the two actresses.

434
00:30:41,708 --> 00:30:43,916
In her last letter, she apologised.

435
00:30:44,041 --> 00:30:45,166
For no reason.

436
00:30:47,166 --> 00:30:48,583
What could she be apologising for?

437
00:30:50,958 --> 00:30:52,625
After their respective close-ups,

438
00:30:52,750 --> 00:30:55,041
we decided to do a take
that was a sequence shot.

439
00:30:56,708 --> 00:30:58,375
You make it sound terrible.

440
00:30:58,500 --> 00:31:00,666
Just one, and it was this one.

441
00:31:04,083 --> 00:31:06,083
What do you know
of my marriage?

442
00:31:08,458 --> 00:31:11,625
You're to wed
a Milanese gentleman, that's all.

443
00:31:12,875 --> 00:31:14,916
That's all I know, too.

444
00:31:15,041 --> 00:31:16,916
You see why it worries me.

445
00:31:19,958 --> 00:31:21,625
Put that way, yes.

446
00:31:22,708 --> 00:31:24,458
lput it the way it is.

447
00:31:27,750 --> 00:31:30,208
You'd rather have stayed
in the convent?

448
00:31:30,333 --> 00:31:32,625
It's a life that has advantages.

449
00:31:32,750 --> 00:31:34,166
There 's a library.

450
00:31:34,291 --> 00:31:36,666
You can sing or hear music.

451
00:31:41,750 --> 00:31:44,166
And equality is a pleasant feeling.

452
00:31:44,291 --> 00:31:47,791
"Equality is a pleasant feeling."
One of the key lines in the film.

453
00:31:48,666 --> 00:31:51,583
A line that is key to the dynamic
between them, to their relationship.

454
00:31:51,708 --> 00:31:54,083
And key to the screenplay,
because this film was an attempt

455
00:31:54,208 --> 00:31:56,750
to write a love story
based on equality.

456
00:31:56,875 --> 00:31:58,250
You draw?

457
00:31:59,208 --> 00:32:00,916
Yes. A little.

458
00:32:02,166 --> 00:32:05,416
A story about an artistic collaboration
based on equality

459
00:32:05,541 --> 00:32:09,666
and a screenplay which is not based
on a dynamic of conflict.

460
00:32:09,791 --> 00:32:11,958
What about you?
When will you many?

461
00:32:12,083 --> 00:32:15,416
All the possible narratives in it,
all the possible emotions too.

462
00:32:15,541 --> 00:32:17,791
I don't know if I Will.

463
00:32:17,916 --> 00:32:19,958
- You don't have to?
- No.

464
00:32:21,291 --> 00:32:24,083
I'll take over my father's business.

465
00:32:24,208 --> 00:32:26,583
What we were thinking in 2018
when we were making the film

466
00:32:26,708 --> 00:32:28,666
is what this character
was thinking in 1770.

467
00:32:31,375 --> 00:32:33,500
She helps us to think it today.

468
00:32:34,541 --> 00:32:37,750
You can choose.
That's why you don't understand me.

469
00:32:42,208 --> 00:32:43,750
I understand you.

470
00:32:46,916 --> 00:32:48,750
How are your days?

471
00:32:49,541 --> 00:32:52,583
We return late
and l have little light to work.

472
00:32:54,291 --> 00:32:56,458
I'll keep her here
tomorrow afternoon.

473
00:32:56,583 --> 00:32:59,083
The work we did with Valeria Golino
was very specific

474
00:32:59,208 --> 00:33:01,291
because she arrived
at the end of the shoot.

475
00:33:01,416 --> 00:33:03,708
Perhaps you could allow her
to go out alone.

476
00:33:03,833 --> 00:33:07,250
She was only there for three days
and she had all these scenes...

477
00:33:07,375 --> 00:33:09,041
She isn't sad, but angry.

478
00:33:09,166 --> 00:33:11,250
...peppered throughout the film.

479
00:33:11,375 --> 00:33:13,375
You think I don 't know her anger?

480
00:33:13,500 --> 00:33:17,708
I chose Valeria
for her childlike qualities, herjoy.

481
00:33:17,833 --> 00:33:19,208
Yes, I know it, too.

482
00:33:19,333 --> 00:33:20,625
Which are then taken away.

483
00:33:22,666 --> 00:33:23,875
Where did you learn Italian?

484
00:33:24,000 --> 00:33:26,875
She said she was scared
of being directed by me.

485
00:33:27,000 --> 00:33:28,708
You know Milan?

486
00:33:28,833 --> 00:33:31,166
I can't wait to go back.

487
00:33:31,291 --> 00:33:33,208
lt's twenty years
since I was there.

488
00:33:33,333 --> 00:33:34,333
And I believe her.

489
00:33:34,458 --> 00:33:36,291
Tell her Milan is beautiful.

490
00:33:37,041 --> 00:33:38,875
And that life will be sweeter.

491
00:33:39,916 --> 00:33:41,875
She doesn't talk much to me.

492
00:33:42,916 --> 00:33:45,583
I'm not marrying her
to the local gentry.

493
00:33:46,125 --> 00:33:48,416
I'm trying
to take her elsewhere.

494
00:33:48,541 --> 00:33:49,791
Here comes the melancholy.

495
00:33:49,916 --> 00:33:51,791
She'll be less bored there.

496
00:33:52,708 --> 00:33:54,125
And you too.

497
00:33:54,250 --> 00:33:56,333
Indeed. Why not?

498
00:33:59,458 --> 00:34:03,000
I'll leave for the coast
at the same time as you.

499
00:34:03,125 --> 00:34:05,541
If you don 't have
to return to Paris,

500
00:34:06,416 --> 00:34:09,041
l have a friend
who'd like her portrait done.

501
00:34:09,166 --> 00:34:11,333
This is the climax of the alliance
between the two.

502
00:34:11,458 --> 00:34:15,375
It's a classic storyline,
woven at the start,

503
00:34:16,500 --> 00:34:18,416
a story about complicity
and secrecy.

504
00:34:21,125 --> 00:34:22,958
She's very ugly.

505
00:34:23,083 --> 00:34:24,666
The promise of a career, perhaps.

506
00:34:27,125 --> 00:34:29,583
But the story soon departs from that.

507
00:34:30,750 --> 00:34:32,083
You've made me laugh.

508
00:34:32,208 --> 00:34:34,208
It's a red herring,
even for the characters.

509
00:34:34,333 --> 00:34:36,208
It's ages since that happened.

510
00:34:37,500 --> 00:34:39,166
I didn't do anything.

511
00:34:40,000 --> 00:34:41,666
You're here.

512
00:34:41,791 --> 00:34:44,250
It takes two to be funny.

513
00:34:48,958 --> 00:34:50,375
The face is finished.

514
00:34:54,625 --> 00:34:56,250
It's time to move onto the dress.

515
00:34:57,666 --> 00:35:00,708
And this is when the absence
of the model is starting to be felt.

516
00:35:04,416 --> 00:35:06,750
There is a theory
among art historians

517
00:35:06,875 --> 00:35:09,000
that women invented self-portraiture.

518
00:35:10,208 --> 00:35:12,291
Perhaps because
they didn't have models.

519
00:35:13,791 --> 00:35:15,416
So they had to paint themselves.

520
00:35:17,500 --> 00:35:19,458
This dress is worn
by all three characters.

521
00:35:21,250 --> 00:35:23,458
First... Marianne.

522
00:35:29,750 --> 00:35:30,750
Playing with mirrors.

523
00:35:32,416 --> 00:35:33,750
The head is cutoff.

524
00:35:35,916 --> 00:35:37,250
Marianne?

525
00:35:38,125 --> 00:35:41,083
All the elements in the shot contribute
to the dramatic composition.

526
00:35:41,208 --> 00:35:43,166
The mirror, the chair, the curtain.

527
00:35:48,125 --> 00:35:49,958
Here comes Darth Vader.

528
00:36:05,666 --> 00:36:07,875
And the image she's dreamt of,
that of the model.

529
00:36:11,375 --> 00:36:13,041
The desire for a reverse angle shot.

530
00:36:14,958 --> 00:36:16,750
It doesn't last long enough.

531
00:36:22,250 --> 00:36:23,333
Do you have tobacco?

532
00:36:24,958 --> 00:36:25,958
Yes.

533
00:36:26,083 --> 00:36:29,333
This scene was
in the second phase,

534
00:36:29,458 --> 00:36:31,791
the most hybrid phase: the thaw.

535
00:36:33,208 --> 00:36:37,458
The first deliberately intimate scene
between the two characters.

536
00:36:39,250 --> 00:36:40,666
And a sequence shot.

537
00:36:41,541 --> 00:36:46,791
The challenge here was to introduce
some cracks in the mask.

538
00:36:48,583 --> 00:36:50,666
The face starting to soften.

539
00:36:53,166 --> 00:36:56,000
Your mother will let you
go out alone tomorrow.

540
00:36:57,083 --> 00:36:58,625
You'll be free.

541
00:37:01,208 --> 00:37:03,166
Being free is being alone?

542
00:37:03,791 --> 00:37:05,000
The first scene of intimacy.

543
00:37:05,125 --> 00:37:06,125
You don 't think so?

544
00:37:06,250 --> 00:37:09,500
The first time they're confronted
with how the other one thinks.

545
00:37:09,625 --> 00:37:12,958
And here Hélo'l'se thinks like Hélo'l'se.

546
00:37:13,083 --> 00:37:16,666
There's an element of self-control,

547
00:37:16,791 --> 00:37:19,250
but it's more candid
than at the start

548
00:37:19,375 --> 00:37:22,541
with a sort of emotionalism
starting to break through.

549
00:37:22,666 --> 00:37:25,041
Organ music is pretty but bleak.

550
00:37:25,166 --> 00:37:26,791
It's all I know.

551
00:37:27,750 --> 00:37:29,666
You've never heard an orchestra?

552
00:37:32,208 --> 00:37:33,708
Have you?

553
00:37:37,875 --> 00:37:39,458
Tell me about it.

554
00:37:44,208 --> 00:37:46,208
It's not easy to relate music.

555
00:37:55,208 --> 00:37:56,750
Another sequence shot.

556
00:38:04,250 --> 00:38:07,875
Noémie Merlant was enthusiastic
about learning to play the spinette,

557
00:38:08,000 --> 00:38:10,041
which is this little harpsichord,

558
00:38:10,166 --> 00:38:12,250
and she spent weeks on it.

559
00:38:13,083 --> 00:38:15,666
She does actually play it here
but under a sheet.

560
00:38:20,750 --> 00:38:22,625
A reinterpretation of Vivaldi.

561
00:38:23,916 --> 00:38:27,000
We picked
a well-known classical piece.

562
00:38:29,500 --> 00:38:30,875
For its democratic virtues.

563
00:38:32,708 --> 00:38:35,833
It's identifiable from the first notes.

564
00:38:35,958 --> 00:38:37,458
What is it?

565
00:38:38,166 --> 00:38:39,833
A piece that I love.

566
00:38:45,458 --> 00:38:46,875
Is it merry?

567
00:38:48,500 --> 00:38:50,791
Not merry, but it's lively.

568
00:39:04,833 --> 00:39:06,125
Vivaldi's "Four Seasons".

569
00:39:06,250 --> 00:39:08,208
It's about a coming storm.

570
00:39:10,250 --> 00:39:13,750
Accompanied by poems he wrote.

571
00:39:13,875 --> 00:39:15,541
The insects sense it.

572
00:39:19,083 --> 00:39:20,333
Marianne's interpretation.

573
00:39:20,458 --> 00:39:21,916
They become agitated.

574
00:39:22,041 --> 00:39:23,458
Then the storm breaks.

575
00:39:24,750 --> 00:39:25,958
Her interpretation of the poem.

576
00:39:26,083 --> 00:39:27,791
With lightning and the wind.

577
00:39:34,708 --> 00:39:37,416
The first time the fire appears
between the characters.

578
00:39:38,875 --> 00:39:40,625
I can't remember it...

579
00:39:42,625 --> 00:39:46,791
This time it's Marianne who's burning
with Heloise watching her.

580
00:39:46,916 --> 00:39:49,458
You'll hear the rest.
Milan is a city of music.

581
00:39:49,583 --> 00:39:52,291
Maybe the one looking
makes the other one burn.

582
00:39:54,458 --> 00:39:55,958
Then I can't wait for Milan.

583
00:40:00,750 --> 00:40:03,208
I'm saying there will be good things.

584
00:40:06,958 --> 00:40:09,250
You're saying that, now and then,

585
00:40:10,500 --> 00:40:12,083
I'll be consoled.

586
00:40:25,083 --> 00:40:28,583
The guilt associated with secrecy
is at play here.

587
00:40:37,208 --> 00:40:40,625
For the first time,
the eyes darting back and forth

588
00:40:40,750 --> 00:40:42,583
between the canvas and a model,

589
00:40:43,708 --> 00:40:45,708
even though
she's still painting in secret.

590
00:40:49,791 --> 00:40:52,333
A desire to see a reverse angle shot.

591
00:40:53,333 --> 00:40:54,708
But we take our time.

592
00:41:06,416 --> 00:41:09,708
Working on the image,
recreating the colour and the material.

593
00:41:15,208 --> 00:41:18,666
And still choosing to show the work
of the painter in real time.

594
00:41:29,125 --> 00:41:31,416
The second character
in the green dress: Sophie.

595
00:41:37,375 --> 00:41:39,833
This scene is one
that we had dreamt of,

596
00:41:39,958 --> 00:41:44,666
one we felt strongly about,

597
00:41:44,791 --> 00:41:46,916
without knowing
what place it would occupy

598
00:41:47,041 --> 00:41:49,125
simply knowing it would be there.

599
00:41:49,250 --> 00:41:53,125
A sequence shot with a conjuring trick:
the retraction of her hand.

600
00:41:56,708 --> 00:41:58,125
Minutely choreographed.

601
00:41:58,250 --> 00:42:00,041
How was mass?

602
00:42:00,166 --> 00:42:02,666
Again resting on
the actresses' ideas and physicality.

603
00:42:02,791 --> 00:42:04,375
You look cheerful.

604
00:42:04,500 --> 00:42:05,875
I sang a lot.

605
00:42:07,083 --> 00:42:08,791
Are you leaving me already?

606
00:42:08,916 --> 00:42:10,208
Yes.

607
00:42:10,333 --> 00:42:12,625
Will you come out tomorrow?

608
00:42:12,750 --> 00:42:16,791
Added to the secrecy,
the admission of love.

609
00:42:16,916 --> 00:42:19,958
In solitude,
I felt the liberty you spoke of.

610
00:42:21,416 --> 00:42:23,625
A meeting of minds.

611
00:42:23,750 --> 00:42:25,791
But I also felt your absence.

612
00:42:44,291 --> 00:42:46,708
The painting is finished.

613
00:42:46,833 --> 00:42:49,750
It is not placed in the centre
of the frame like a work of art.

614
00:42:50,875 --> 00:42:53,416
It is kept in the background
and it's blurred.

615
00:42:58,083 --> 00:42:59,750
It's the work's vocation that counts.

616
00:43:00,750 --> 00:43:02,458
The portrait is finished.

617
00:43:04,750 --> 00:43:06,375
Are you happy with it?

618
00:43:08,375 --> 00:43:09,750
I think so.

619
00:43:11,750 --> 00:43:13,416
Let's go and see it.

620
00:43:14,916 --> 00:43:17,791
When a story revolves
around a secret,

621
00:43:17,916 --> 00:43:21,041
the real challenge
is the timing of the revelation.

622
00:43:21,166 --> 00:43:22,500
May I ask a favour?

623
00:43:22,625 --> 00:43:26,625
There are films which depend
on the final revelation of the truth.

624
00:43:26,750 --> 00:43:27,750
Go on.

625
00:43:27,875 --> 00:43:32,000
But here the character chooses
to reveal it, demanding to do so.

626
00:43:32,125 --> 00:43:34,041
I'd like to show her first.

627
00:43:36,000 --> 00:43:38,000
And tell her the truth myself.

628
00:43:39,291 --> 00:43:41,833
This is where it diverts
from most stories about a secret.

629
00:43:41,958 --> 00:43:43,375
I understand.

630
00:43:44,541 --> 00:43:45,791
She's very fond of you.

631
00:43:45,916 --> 00:43:49,166
There's an attempt
to resolve the conflict in a different way.

632
00:43:49,291 --> 00:43:50,916
How do you know?

633
00:43:55,125 --> 00:43:56,875
She talks about you.

634
00:44:02,500 --> 00:44:05,333
We had to include
a vague feeling of guilt.

635
00:44:08,625 --> 00:44:10,250
It was a way
of building the momentum.

636
00:44:17,916 --> 00:44:21,291
Making room
for the sound of the fire.

637
00:44:22,375 --> 00:44:25,708
It plays a very precise role
in the film.

638
00:44:27,333 --> 00:44:31,375
When is the fire part of the picture?
When is it part of the soundtrack?

639
00:44:31,500 --> 00:44:35,125
Sometimes it's visual and not audible.
Other times it's audible and not visual.

640
00:44:35,250 --> 00:44:36,916
Sometimes it doesn't figure at all.

641
00:44:39,125 --> 00:44:41,041
There was a catalogue of fires
in the film.

642
00:44:41,958 --> 00:44:45,791
It was a challenge as well as a pleasure
for the director of photography.

643
00:44:53,625 --> 00:44:54,958
At this turning point in the film,

644
00:44:55,083 --> 00:44:57,625
the conventional storyline
has a new angle.

645
00:44:59,625 --> 00:45:01,041
There is...

646
00:45:03,291 --> 00:45:04,458
...this image,

647
00:45:06,458 --> 00:45:07,791
this literal image...

648
00:45:09,375 --> 00:45:10,541
...of a heart set alight.

649
00:45:13,666 --> 00:45:15,041
There is a certain naivety.

650
00:45:22,291 --> 00:45:24,250
These are camera effects.

651
00:45:26,791 --> 00:45:28,625
There is a return
to a primitive language.

652
00:45:32,333 --> 00:45:34,708
But the primitive language
is inevitably a new language.

653
00:45:57,041 --> 00:45:58,708
I must tell you something.

654
00:46:01,166 --> 00:46:02,500
I'm a painter.

655
00:46:03,291 --> 00:46:05,000
I came here to paint you.

656
00:46:08,666 --> 00:46:10,416
I finished your portrait last night.

657
00:46:15,208 --> 00:46:17,583
The dynamic of the truth.

658
00:46:17,708 --> 00:46:19,750
Curiously, in the truth,
in the absence of lies...

659
00:46:19,875 --> 00:46:22,208
I see now why you praised
the charms of exile.

660
00:46:22,333 --> 00:46:23,916
...|ies the possibility of invention.

661
00:46:24,041 --> 00:46:25,833
You felt guilty.

662
00:46:25,958 --> 00:46:28,916
Or at least of surprise,
for the story and for the audience.

663
00:46:36,208 --> 00:46:37,250
Are you leaving?

664
00:46:38,750 --> 00:46:41,166
Later today. With your mother.

665
00:46:42,708 --> 00:46:44,333
If we can say anything at all...

666
00:46:47,000 --> 00:46:48,416
...what do we say?

667
00:46:50,708 --> 00:46:52,791
Then I shall bathe today.

668
00:46:59,875 --> 00:47:01,916
Hélo'l'se decides
to expand her world

669
00:47:02,041 --> 00:47:04,583
because her world
has come to an end.

670
00:47:06,875 --> 00:47:08,166
It's October.

671
00:47:11,208 --> 00:47:12,958
It's Brittany.

672
00:47:13,083 --> 00:47:15,291
So it's one take, just one.

673
00:47:53,750 --> 00:47:56,208
The next sequence
was filmed straight after the swim,

674
00:47:56,958 --> 00:47:59,375
so the cold is real.

675
00:48:07,958 --> 00:48:11,375
Their separation is imminent,

676
00:48:13,166 --> 00:48:14,750
but Hélo'l'se hasn't reacted.

677
00:48:14,875 --> 00:48:16,583
Well, can you swim?

678
00:48:16,708 --> 00:48:17,750
We are waiting...

679
00:48:17,875 --> 00:48:19,125
I still don 't know if can.

680
00:48:19,250 --> 00:48:20,541
...for her to show her feelings.

681
00:48:20,666 --> 00:48:22,291
Did you see me?

682
00:48:23,000 --> 00:48:24,291
You can float.

683
00:48:25,916 --> 00:48:27,583
The film makes us wait

684
00:48:27,708 --> 00:48:28,916
for the conflict,

685
00:48:29,875 --> 00:48:33,458
by not revealing everything...

686
00:48:33,916 --> 00:48:34,916
Let's go back.

687
00:48:35,041 --> 00:48:36,125
...too rapidly.

688
00:48:40,250 --> 00:48:42,291
The characters take their time to reflect.

689
00:48:45,291 --> 00:48:46,583
It explains all your looks.

690
00:48:46,708 --> 00:48:49,166
Here the love is apparent
and yet denied.

691
00:48:52,708 --> 00:48:53,833
It wasn't love.

692
00:49:02,875 --> 00:49:07,208
I remember this sequence.
It was number 30.

693
00:49:07,333 --> 00:49:11,083
If you remember the number
it's because it was a pivotal sequence.

694
00:49:11,208 --> 00:49:13,500
This is the moment
the language of the film changes.

695
00:49:14,083 --> 00:49:15,583
You're saying nothing?

696
00:49:20,291 --> 00:49:21,291
Is that me?

697
00:49:21,416 --> 00:49:23,833
Of all the possible reactions
from the character...

698
00:49:23,958 --> 00:49:24,958
Yes.

699
00:49:25,083 --> 00:49:27,833
...I think
her being critical of the work...

700
00:49:27,958 --> 00:49:29,041
Is that how you see me?

701
00:49:29,166 --> 00:49:30,541
...is the least expected.

702
00:49:33,041 --> 00:49:34,666
It's the start of...

703
00:49:34,791 --> 00:49:35,958
It's not only me.

704
00:49:36,083 --> 00:49:37,916
...a new dynamic
between the characters.

705
00:49:38,041 --> 00:49:39,416
What do you mean, not only you?

706
00:49:39,541 --> 00:49:42,416
Now that things are out in the open...

707
00:49:42,541 --> 00:49:45,916
There are rules, conventions, ideas.

708
00:49:46,041 --> 00:49:47,541
...everyone has an opinion.

709
00:49:50,750 --> 00:49:52,833
You mean there '3 no life?

710
00:49:52,958 --> 00:49:55,583
The dialogue is...

711
00:49:56,291 --> 00:49:58,958
Your presence is made up
of fleeting moments

712
00:49:59,083 --> 00:50:00,708
that may lack truth.

713
00:50:00,833 --> 00:50:01,833
...inte||ectua|...

714
00:50:03,125 --> 00:50:04,458
Not everything is fleeting.

715
00:50:04,583 --> 00:50:05,666
...critical. ..

716
00:50:07,291 --> 00:50:08,666
Some feelings are deep.

717
00:50:10,791 --> 00:50:12,125
...full of feeling.

718
00:50:13,625 --> 00:50:15,958
The fact it isn't close to me,

719
00:50:16,416 --> 00:50:18,083
that I can understand.

720
00:50:18,750 --> 00:50:20,833
Straightaway the notion
of the eye of the beholder.

721
00:50:20,958 --> 00:50:24,208
But I find it sad
it isn't close to you.

722
00:50:24,708 --> 00:50:27,750
How do you know
it isn't close to me?

723
00:50:29,625 --> 00:50:32,041
I didn't know you were an art critic.

724
00:50:32,541 --> 00:50:34,625
I didn't know you were a painter.

725
00:50:37,833 --> 00:50:39,333
A new chapter.

726
00:50:41,041 --> 00:50:42,458
I'll fetch my mother.

727
00:50:45,500 --> 00:50:48,000
Adéle Haenel walked so stridently
that the camera shook.

728
00:51:15,625 --> 00:51:18,958
This was at the end of the shoot
on a film about two self-sufficient women

729
00:51:19,083 --> 00:51:22,000
and suddenly,
because of the order we did it in,

730
00:51:22,125 --> 00:51:26,541
authority returns to the frame
and we had to film three characters.

731
00:51:26,666 --> 00:51:29,583
It wasn't good enough.
I'll start again.

732
00:51:30,416 --> 00:51:35,833
I think all of us on set
were terror-stricken

733
00:51:35,958 --> 00:51:37,041
when the time came to do that

734
00:51:37,166 --> 00:51:40,833
because suddenly
it was the end of our idyll,

735
00:51:40,958 --> 00:51:43,708
the idyll between these two characters
and what it meant...

736
00:51:43,833 --> 00:51:44,833
She's staying.

737
00:51:44,958 --> 00:51:47,208
...to only have two characters
in the frame.

738
00:51:48,000 --> 00:51:49,833
I'll pose for her.

739
00:51:49,958 --> 00:51:52,750
Suddenly we had
to incorporate three.

740
00:51:54,333 --> 00:51:55,333
Yes.

741
00:51:55,458 --> 00:52:00,208
This is really the only decision
Hélo'l'se takes in the film,

742
00:52:01,291 --> 00:52:03,666
the only decision about her fate,
and it's to pose.

743
00:52:04,833 --> 00:52:06,041
Why?

744
00:52:07,416 --> 00:52:10,041
The mother and daughter are...

745
00:52:10,166 --> 00:52:11,250
What does it change for you?

746
00:52:11,375 --> 00:52:14,000
...genetica|ly quite far-removed
from one another,

747
00:52:14,125 --> 00:52:16,541
but there is the authority
of the frame and the profile.

748
00:52:16,666 --> 00:52:18,083
Nothing.

749
00:52:22,458 --> 00:52:24,083
I'll be away for five days.

750
00:52:24,208 --> 00:52:27,250
How to show
in a gesture in the present

751
00:52:27,375 --> 00:52:29,041
a past intimacy,

752
00:52:29,166 --> 00:52:30,833
an intimacy between
a mother and child.

753
00:52:30,958 --> 00:52:32,375
Understood?

754
00:52:34,333 --> 00:52:38,000
There is the idea
of the invention of this kiss...

755
00:52:38,125 --> 00:52:40,000
Say goodbye
like when you were little.

756
00:52:40,125 --> 00:52:42,416
...which is already unusual,

757
00:52:42,541 --> 00:52:44,458
but then it was played
by Adéle Haenel

758
00:52:44,583 --> 00:52:47,000
as if it was something she'd made up
on the spur of the moment.

759
00:52:50,125 --> 00:52:51,958
Perhaps for something
to belong to two people

760
00:52:52,083 --> 00:52:55,208
it must be... new.

761
00:53:01,708 --> 00:53:05,000
I spent a lot of time
observing Helene Delmaire

762
00:53:05,125 --> 00:53:08,375
who painted the various paintings
you see in the film

763
00:53:08,500 --> 00:53:11,041
and I spent time observing her
to try to find Marianne

764
00:53:11,166 --> 00:53:13,791
and her relationship
with her work, with painting.

765
00:53:15,583 --> 00:53:16,791
Sit down.

766
00:53:18,291 --> 00:53:22,791
In the first instance I tried to capture
her gaze, the painter's gaze,

767
00:53:22,916 --> 00:53:24,916
which is very specific,

768
00:53:25,041 --> 00:53:28,250
a mixture of concentration...

769
00:53:28,375 --> 00:53:29,541
Turn your chest towards me.

770
00:53:29,666 --> 00:53:32,250
...and magic, a gaze...

771
00:53:32,375 --> 00:53:33,375
A little more.

772
00:53:33,500 --> 00:53:37,541
...which is piercing
but also distant.

773
00:53:37,666 --> 00:53:39,583
Turn your head slightly.

774
00:53:39,708 --> 00:53:43,375
Then I tried to find my own dance.

775
00:53:43,500 --> 00:53:47,541
When I say dance,
I mean the dance of the painter.

776
00:53:49,083 --> 00:53:51,666
I worked on the gestures,
the fluidity of the gestures.

777
00:53:52,458 --> 00:53:54,083
Rest your arm here.

778
00:53:54,208 --> 00:53:58,625
The relationship and the rhythm
of the model and the painting.

779
00:54:00,708 --> 00:54:01,916
Take your hand.

780
00:54:03,250 --> 00:54:04,458
The other way.

781
00:54:05,791 --> 00:54:08,750
The film finally reveals its centrepiece,

782
00:54:08,875 --> 00:54:12,916
the thing it set out to do,
the thing that inspired it,

783
00:54:13,041 --> 00:54:17,125
the shot reverse shot
of the model and painter.

784
00:54:17,250 --> 00:54:19,625
- Are you comfortable?
- Yes.

785
00:54:19,750 --> 00:54:21,750
Can you hold this position?

786
00:54:21,875 --> 00:54:23,041
Yes.

787
00:54:25,916 --> 00:54:29,416
The film plays on the paradox
that it's the painter who says...

788
00:54:29,541 --> 00:54:31,166
Look at me.

789
00:54:32,958 --> 00:54:34,958
And here it decides
to film the desire.

790
00:54:36,208 --> 00:54:37,291
The desire.

791
00:54:38,166 --> 00:54:39,958
The materiality of desire.

792
00:54:41,000 --> 00:54:42,625
The turmoil.

793
00:54:42,750 --> 00:54:44,458
That gut-wrenching feeling.

794
00:54:47,083 --> 00:54:49,958
Using the cinema to film desire.

795
00:54:51,500 --> 00:54:52,583
Before the lovemaking.

796
00:55:14,375 --> 00:55:18,458
Seemingly a continuation of the turmoil
but actually something far more physical.

797
00:55:18,583 --> 00:55:21,083
Even though, for now,
it remains a mystery.

798
00:55:27,916 --> 00:55:29,250
The character is suffering.

799
00:55:32,500 --> 00:55:33,916
Because she has her period.

800
00:55:35,583 --> 00:55:37,916
That's something we rarely see
in the cinema.

801
00:55:45,916 --> 00:55:47,833
The heat will do you good.

802
00:55:48,541 --> 00:55:50,416
The cherrystones hold it in.

803
00:55:52,875 --> 00:55:56,875
The return of Sophie
who hasn't been seen for a while.

804
00:55:57,000 --> 00:55:59,791
She has returned
because she has a reason to return.

805
00:56:00,958 --> 00:56:03,083
Now it's her turn
to become a main character.

806
00:56:04,083 --> 00:56:05,291
Thank you.

807
00:56:11,083 --> 00:56:13,625
I usually have one ready,

808
00:56:13,750 --> 00:56:15,666
but I haven 't had my monthlies.

809
00:56:19,375 --> 00:56:20,750
More than once?

810
00:56:21,541 --> 00:56:22,958
Three times.

811
00:56:26,250 --> 00:56:28,083
Is this the first time?

812
00:56:28,208 --> 00:56:29,291
Yes.

813
00:56:32,125 --> 00:56:33,458
Do you want a child?

814
00:56:35,375 --> 00:56:38,625
l was waiting for Madam to leave
to see to it.

815
00:56:40,416 --> 00:56:43,625
A new territory,
a world without Madam.

816
00:56:44,958 --> 00:56:46,458
A world with three of them in it.

817
00:57:02,666 --> 00:57:04,666
- I can't.
- A little more.

818
00:57:24,041 --> 00:57:25,375
I can't go on.

819
00:57:35,458 --> 00:57:37,250
We named this shot after Miyazaki.

820
00:57:40,083 --> 00:57:42,541
A playful shot with appearances
and disappearances.

821
00:57:45,041 --> 00:57:46,750
I don't know why
we thought of Totoro.

822
00:58:05,375 --> 00:58:09,000
They're looking for a plant
that will abort, namely rue.

823
00:58:10,000 --> 00:58:12,375
Hence the expression,
"un enfant de la rue",

824
00:58:12,500 --> 00:58:15,166
which doesn't mean
a child brought up in the street

825
00:58:15,291 --> 00:58:18,458
but a child who survived
the plant, the rue,

826
00:58:18,583 --> 00:58:19,666
which is abortive.

827
00:58:24,541 --> 00:58:27,500
We're back in the kitchen here
for this difficult sequence

828
00:58:27,625 --> 00:58:29,250
which combines two challenges:

829
00:58:30,250 --> 00:58:32,500
the dialogue between lovers

830
00:58:32,625 --> 00:58:35,583
and a medical,
almost acrobatic, challenge.

831
00:58:35,708 --> 00:58:37,375
We made a decision...

832
00:58:37,500 --> 00:58:38,583
It's ready.

833
00:58:38,708 --> 00:58:41,041
...on set to film a sequence shot.

834
00:58:46,458 --> 00:58:51,458
| always envisaged this kitchen
as a domestic space,

835
00:58:51,583 --> 00:58:54,000
like other domestic spaces
in the cinema,

836
00:58:54,125 --> 00:58:59,750
in Chantal Akerman's Jeanne Die/man,
for example, which I like a lot.

837
00:59:00,708 --> 00:59:03,208
It was a space which gave us
the courage to film a sequence shot.

838
00:59:04,166 --> 00:59:05,500
Will it be enough?

839
00:59:05,625 --> 00:59:06,833
We 'll see.

840
00:59:32,791 --> 00:59:34,416
Has it happened to you?

841
00:59:39,625 --> 00:59:40,833
Yes.

842
00:59:43,416 --> 00:59:45,125
You've known love.

843
00:59:48,458 --> 00:59:49,666
Yes.

844
00:59:52,000 --> 00:59:53,583
What is it like?

845
00:59:55,958 --> 00:59:57,916
It's hard to say.

846
00:59:59,125 --> 01:00:00,833
I mean, how does it feel?

847
01:00:27,416 --> 01:00:30,625
This, for example, was
an extremely complicated shot.

848
01:00:30,750 --> 01:00:33,416
It took four or five hours to shoot.

849
01:00:35,166 --> 01:00:37,500
A sequence shot
lasting two minutes 45 seconds,

850
01:00:39,375 --> 01:00:44,166
with multiple light sources,

851
01:00:44,291 --> 01:00:45,500
movement,

852
01:00:51,208 --> 01:00:54,375
and a tension
that comes from discretion.

853
01:01:17,000 --> 01:01:18,875
Another example
of the decision made...

854
01:01:21,291 --> 01:01:22,500
...to film at night.

855
01:01:28,125 --> 01:01:33,250
With a combination of candlelight
and natural light.

856
01:01:35,958 --> 01:01:38,333
You see all the precision
in the colours.

857
01:01:38,458 --> 01:01:39,791
The work of Claire Mathon.

858
01:01:44,750 --> 01:01:48,083
Candles are the biggest challenge
of the reconstruction.

859
01:01:50,458 --> 01:01:53,041
Are they in the frame?
Are they on candelabras?

860
01:01:53,166 --> 01:01:55,541
Are they big or small?
Are they ostentatious?

861
01:01:55,666 --> 01:01:57,750
We went for an Arte Povera style.

862
01:01:57,875 --> 01:02:01,041
Candle ends on planks of wood.

863
01:02:01,166 --> 01:02:04,583
They tie in with the sociology
that we're seeing,

864
01:02:04,708 --> 01:02:07,791
even if it's an anachronism
to talk about sociology

865
01:02:07,916 --> 01:02:10,583
in relation
to this Breton aristocracy.

866
01:02:10,708 --> 01:02:12,625
Every candle end
is worth something.

867
01:02:15,583 --> 01:02:19,958
There are flames running
through every scene in the film.

868
01:02:20,083 --> 01:02:24,791
The challenge was to never be reliant
on being able to control them.

869
01:02:35,833 --> 01:02:39,250
The clandestine behaviour continues
even though the secret is out.

870
01:02:55,125 --> 01:02:56,833
An opportune moment.

871
01:02:58,958 --> 01:03:00,208
This scene really hinges,

872
01:03:00,333 --> 01:03:03,250
after all that tension
of the sequence shot,

873
01:03:03,375 --> 01:03:05,375
on the change of pace.

874
01:03:08,833 --> 01:03:10,500
And on Adéle Haenel's languor.

875
01:03:12,500 --> 01:03:13,500
Her opening up.

876
01:03:23,583 --> 01:03:28,375
This type of sequence relies heavily
on precision on all levels,

877
01:03:28,500 --> 01:03:31,958
the precision of the drawing
and the subtlety of the actresses

878
01:03:32,708 --> 01:03:35,125
and this sound,
reinforced by sound effects.

879
01:03:44,833 --> 01:03:47,000
I can't make you smile.

880
01:03:47,125 --> 01:03:48,333
This scene...

881
01:03:48,458 --> 01:03:50,916
I feel I do it
and then it vanishes.

882
01:03:51,041 --> 01:03:53,875
It's as if it had already taken place
before we shot it.

883
01:03:55,125 --> 01:03:57,375
Anger always comes to the fore.

884
01:03:57,500 --> 01:03:59,458
Definitely with you.

885
01:03:59,583 --> 01:04:01,708
First, because it's a pivotal scene,

886
01:04:01,833 --> 01:04:03,916
it's the scene that epitomises...

887
01:04:04,041 --> 01:04:05,083
I didn't mean to hurt you.

888
01:04:05,208 --> 01:04:06,750
...the shot reverse shot dynamic.

889
01:04:06,875 --> 01:04:08,333
You haven 't hurt me.

890
01:04:08,458 --> 01:04:09,833
l have, I can tell.

891
01:04:09,958 --> 01:04:12,666
When you're moved,
you do this with your hand.

892
01:04:12,791 --> 01:04:15,791
What power does the beholder have?
Who is looking at whom?

893
01:04:15,916 --> 01:04:20,083
And it's also the scene
we used for the auditions.

894
01:04:20,208 --> 01:04:21,500
And when you're embarrassed...

895
01:04:21,625 --> 01:04:22,791
For the role of Marianne,

896
01:04:22,916 --> 01:04:25,291
because Adéle Haenel

897
01:04:25,416 --> 01:04:27,291
was already on board.

898
01:04:28,708 --> 01:04:32,416
When we did the auditions,
I played the model

899
01:04:32,541 --> 01:04:35,875
and the actresses
played the painter,

900
01:04:36,000 --> 01:04:38,541
which was somewhat carnivalesque.

901
01:04:38,666 --> 01:04:40,458
Forgive me,
I'd hate to be in your place.

902
01:04:40,583 --> 01:04:43,166
It's very hard to shoot scenes
you've used in casting sessions.

903
01:04:43,291 --> 01:04:44,791
We 're in the same place.

904
01:04:45,833 --> 01:04:47,208
Exactly the same place.

905
01:04:47,333 --> 01:04:49,208
This scene is all about the editing.

906
01:04:49,333 --> 01:04:50,333
Come here.

907
01:04:50,458 --> 01:04:55,250
It's about how you leave your shot
to enter the reverse shot,

908
01:04:55,375 --> 01:05:01,833
the other person's shot,
which is defined by our viewpoint.

909
01:05:03,125 --> 01:05:04,625
Step closer.

910
01:05:11,208 --> 01:05:12,666
Look.

911
01:05:12,791 --> 01:05:15,375
To start with, this scene...

912
01:05:15,500 --> 01:05:18,708
If you look at me,
who do I look at?

913
01:05:18,833 --> 01:05:22,583
...showing a shift of power,
or an understanding that it's shared,

914
01:05:22,708 --> 01:05:25,958
was the scene of the first kiss.

915
01:05:26,083 --> 01:05:27,583
It seemed obvious.

916
01:05:31,708 --> 01:05:34,541
When you lose control,
you raise your eyebrows.

917
01:05:42,000 --> 01:05:43,500
And when you're troubled,

918
01:05:44,791 --> 01:05:46,333
you breathe through your mouth.

919
01:05:47,458 --> 01:05:49,875
Before I had her saying,
"You knew I was in turmoil."

920
01:05:50,000 --> 01:05:51,000
And she replied, "Yes."

921
01:05:52,458 --> 01:05:53,750
And they kissed.

922
01:05:58,958 --> 01:06:01,375
But we decided to take it further.

923
01:06:06,250 --> 01:06:09,208
This is the only time
we have Marianne framed like this,

924
01:06:09,333 --> 01:06:12,833
observed, in her fragile state,
by the model.

925
01:06:21,458 --> 01:06:24,541
The only improvised scene
in the film.

926
01:06:24,666 --> 01:06:29,625
A card game,
an 18th-century form of Spit.

927
01:06:29,750 --> 01:06:32,250
It's an extremely authoritative set-up.

928
01:06:32,375 --> 01:06:34,583
There is this panoramic shot
linking the three characters

929
01:06:34,708 --> 01:06:36,291
which sets the atmosphere

930
01:06:36,416 --> 01:06:40,833
and then one shot per character,
with them playing the game for real.

931
01:06:41,333 --> 01:06:43,708
- I didn't touch!
- I win.

932
01:06:43,833 --> 01:06:44,833
I win.

933
01:06:44,958 --> 01:06:46,583
These are tricky scenes,

934
01:06:46,708 --> 01:06:50,083
especially for the director,
because they are joyful to shoot.

935
01:06:50,208 --> 01:06:52,500
You feel as if you've got
lots of material

936
01:06:52,625 --> 01:06:55,083
and, as I found when filming with kids,
a lot of charm,

937
01:06:55,208 --> 01:06:56,708
but actually you need
to be clear-headed

938
01:06:56,833 --> 01:06:58,416
to make sure you get
the material you need.

939
01:06:58,541 --> 01:07:01,583
- You're cheating.
- I'm not cheating, I play fast.

940
01:07:02,291 --> 01:07:04,166
The first shot
is of Adéle Haenel

941
01:07:04,291 --> 01:07:06,375
and it reveals something of her,

942
01:07:06,500 --> 01:07:08,500
something about her childhood.

943
01:07:08,625 --> 01:07:11,708
- Two. Two sixes.
- Oh, no!

944
01:07:11,833 --> 01:07:16,000
We see her spontaneity
which flirts with the severing of ties

945
01:07:16,125 --> 01:07:19,666
but retains
a rare form of innocence.

946
01:07:19,791 --> 01:07:21,333
Your turn.

947
01:07:22,000 --> 01:07:24,708
The key shot in this sort of scene
is usually the last take,

948
01:07:24,833 --> 01:07:25,916
which is of Noémie Merlant.

949
01:07:26,041 --> 01:07:28,208
And I gave her a lot of directions

950
01:07:28,333 --> 01:07:30,250
because I saw
what the other actresses had given.

951
01:07:35,375 --> 01:07:37,375
Céline wanted it
to be a film of faces.

952
01:07:37,500 --> 01:07:40,416
She wanted to film her actresses
and their faces.

953
01:07:40,541 --> 01:07:43,875
With the picture I tried not to show
the direction or colour of the light.

954
01:07:44,000 --> 01:07:45,041
Uncover your throat.

955
01:07:45,166 --> 01:07:48,000
I worked on getting
a satin-smooth texture,

956
01:07:48,125 --> 01:07:50,166
on incorporating a softness.

957
01:07:51,541 --> 01:07:54,583
Technically, that was created
through a mixture of filters

958
01:07:54,708 --> 01:07:58,250
and the choice of the quality
and direction of the light,

959
01:07:58,375 --> 01:08:00,000
plus a collaboration with make-up.

960
01:08:00,125 --> 01:08:01,791
You have my future husband in mind.

961
01:08:02,708 --> 01:08:06,041
What was beautiful was being able
to sense the slightest trembling,

962
01:08:06,166 --> 01:08:09,041
the slightest emotion,
without the light upstaging the actresses.

963
01:08:10,125 --> 01:08:13,250
Keeping the flesh tones,

964
01:08:13,375 --> 01:08:15,625
as if the light emanated
from their faces.

965
01:08:15,750 --> 01:08:17,083
Why not men?

966
01:08:19,375 --> 01:08:21,166
I'm not allowed to.

967
01:08:21,291 --> 01:08:22,500
Why not?

968
01:08:23,375 --> 01:08:25,833
The film was shot
in a natural setting,

969
01:08:25,958 --> 01:08:30,625
but the light was mostly artificial.

970
01:08:30,750 --> 01:08:35,208
It was important to control the light
and choose how much to reveal.

971
01:08:37,000 --> 01:08:39,916
I also take inspiration
from accidental natural light effects,

972
01:08:40,041 --> 01:08:42,875
from the richness
of its reflections and flashes.

973
01:08:43,000 --> 01:08:44,708
That's why I use
a mixture of light sources

974
01:08:44,833 --> 01:08:46,958
and work with successive layers

975
01:08:47,083 --> 01:08:50,000
which the light shines through,
creating reflections and diffusions.

976
01:08:50,916 --> 01:08:51,916
It's tolerated.

977
01:08:52,041 --> 01:08:55,416
Finding a balance between real life
and the timelessness of the portrait,

978
01:08:55,541 --> 01:08:59,541
being in the era whilst retaining
the precision of a contemporary portrait.

979
01:08:59,666 --> 01:09:00,791
...to amuse them?

980
01:09:02,500 --> 01:09:04,666
- Are you bored?
- No.

981
01:09:04,791 --> 01:09:06,541
I'm interested in you.

982
01:09:06,666 --> 01:09:11,333
We were looking for clean lines,
especially in the sets, the backgrounds.

983
01:09:11,458 --> 01:09:13,958
Your complexion is remarkable today.

984
01:09:15,500 --> 01:09:19,333
Céline's direction is very precise,
very choreographed,

985
01:09:19,458 --> 01:09:23,291
which allowed for a picture

986
01:09:24,291 --> 01:09:27,166
that was precise, subtle
and carefully chosen.

987
01:09:27,291 --> 01:09:28,958
You pose beautifully.

988
01:09:34,708 --> 01:09:36,250
You're pretty.

989
01:09:44,250 --> 01:09:46,041
That's what I tell them.

990
01:09:50,041 --> 01:09:52,750
This autumn bouquet.

991
01:09:53,708 --> 01:09:55,416
A still life
that is very much alive here

992
01:09:55,541 --> 01:09:58,541
but will be a bit less alive
later on in the film.

993
01:10:00,083 --> 01:10:01,083
And embroidery.

994
01:10:01,208 --> 01:10:04,291
It was very important for me
that embroidery should figure in the film,

995
01:10:04,416 --> 01:10:08,958
a typically feminine art
which was then relegated to a craft

996
01:10:09,083 --> 01:10:12,666
to play down the importance
of the talent and contribution of women

997
01:10:12,791 --> 01:10:15,333
in the arts that they were allowed
to partake of.

998
01:10:27,125 --> 01:10:31,708
And this shot which is an attempt
to embody the experience of sisterhood,

999
01:10:31,833 --> 01:10:33,041
in other words,

1000
01:10:34,708 --> 01:10:37,208
a reversal of social roles

1001
01:10:40,291 --> 01:10:43,166
and the sense of well-being
that flows from that.

1002
01:10:55,500 --> 01:10:59,125
"Then, striking the lyre
to accompany his words, he sang... "

1003
01:10:59,250 --> 01:11:03,125
This sequence was
a very late addition to the screenplay

1004
01:11:03,250 --> 01:11:05,041
It was almost...

1005
01:11:05,166 --> 01:11:10,416
The dynamic of Orpheus and Eurydice
in the film was the last thing I wrote.

1006
01:11:10,541 --> 01:11:13,250
poisoned her
and robbed her of her youth... "

1007
01:11:13,375 --> 01:11:20,041
I wanted a scene based on a story
to show the complicity between them,

1008
01:11:20,166 --> 01:11:22,541
a real Netflix—and-chill scene

1009
01:11:22,666 --> 01:11:26,625
with a story with a very strong climax,
generating something to discuss,

1010
01:11:26,750 --> 01:11:32,416
because I wanted to see them
exchanging and putting fonNard theories

1011
01:11:32,541 --> 01:11:35,125
about fiction
and the issues it raises.

1012
01:11:36,041 --> 01:11:38,750
"'If the fates refuse my wife this favour,

1013
01:11:38,875 --> 01:11:41,583
"'I am determined not to return.

1014
01:11:41,708 --> 01:11:47,500
This also introduces a feminist
reinterpretation of the myths.

1015
01:11:47,625 --> 01:11:53,541
The myth about Orpheus and Eurydice
has been reinterpreted

1016
01:11:53,666 --> 01:11:56,458
by numerous feminists,
notably Monique Wittig,

1017
01:11:56,583 --> 01:12:02,125
because it is the myth which grants
the male gaze the power to kill,

1018
01:12:02,250 --> 01:12:05,750
or to limit and condition.

1019
01:12:06,666 --> 01:12:08,291
"They sent for Eurydice.

1020
01:12:08,416 --> 01:12:11,583
"She was there,
among the recent spirits,

1021
01:12:11,708 --> 01:12:12,916
"and approached, limping... "

1022
01:12:13,041 --> 01:12:17,541
This brings the myth up to date,
first in the act of reading and listening,

1023
01:12:18,458 --> 01:12:20,458
and then in the analysis.

1024
01:12:20,583 --> 01:12:21,958
"...or the favour would be void. "

1025
01:12:22,083 --> 01:12:24,708
But there was an innocence
about my including this myth.

1026
01:12:24,833 --> 01:12:28,208
I had no idea
how far-reaching it would be in the story.

1027
01:12:28,333 --> 01:12:33,541
In the end it provided a link
between the two main threads

1028
01:12:33,666 --> 01:12:37,000
which are the current experience of love
and the memory of that love.

1029
01:12:37,125 --> 01:12:40,416
The apparitions
of Hélo'l'se as a ghost

1030
01:12:40,541 --> 01:12:42,750
are the future imprint

1031
01:12:43,791 --> 01:12:46,333
or the imprint already made

1032
01:12:47,166 --> 01:12:49,083
by this myth
of Orpheus and Eurydice.

1033
01:12:49,208 --> 01:12:52,166
"She reached out for his embrace
and wished to hold him.

1034
01:12:52,291 --> 01:12:55,458
"Her poor hands
clutched only the empty air.

1035
01:12:56,291 --> 01:12:58,125
"Dying a second time,

1036
01:12:58,250 --> 01:12:59,500
"she did not complain. "

1037
01:12:59,625 --> 01:13:01,833
Dying twice is a woman's destiny.

1038
01:13:03,375 --> 01:13:04,458
That's horrible.

1039
01:13:05,291 --> 01:13:07,250
Poor woman.
Why did he turn?

1040
01:13:07,375 --> 01:13:09,833
He was told not to but did,
for no reason.

1041
01:13:09,958 --> 01:13:11,375
There are reasons.

1042
01:13:11,500 --> 01:13:13,708
You think so? Read it again.

1043
01:13:13,833 --> 01:13:16,291
The joy of filming women
who think and debate.

1044
01:13:17,791 --> 01:13:22,500
But also the joy of validity,
of the importance of all the theories.

1045
01:13:22,625 --> 01:13:25,291
No one is right and no one is wrong.

1046
01:13:25,416 --> 01:13:28,458
No, he can't look at her
for fear of losing her.

1047
01:13:28,958 --> 01:13:32,125
That's no reason.
He was told not to do that.

1048
01:13:32,250 --> 01:13:35,458
He's madly in love. He can't resist.

1049
01:13:35,583 --> 01:13:37,208
I think Sophie has a point.

1050
01:13:37,750 --> 01:13:40,541
He could resist.
His reasons aren't serious.

1051
01:13:40,666 --> 01:13:42,416
Perhaps he makes a choice.

1052
01:13:42,541 --> 01:13:44,125
Marianne's theory is like her.

1053
01:13:44,250 --> 01:13:48,250
He chooses the memory of her.
That's why he turns.

1054
01:13:51,291 --> 01:13:54,041
He doesn't make the lover's choice,
but the poet's.

1055
01:13:55,208 --> 01:14:01,125
The poet's choice,
and the debate is taken further.

1056
01:14:01,250 --> 01:14:03,916
"She spoke a last farewell

1057
01:14:04,041 --> 01:14:06,666
"that scarcely reached his ears

1058
01:14:06,791 --> 01:14:09,125
"and fell back into the abyss. "

1059
01:14:17,541 --> 01:14:19,625
Perhaps she was the one who said,

1060
01:14:20,625 --> 01:14:21,750
"Turn around. "

1061
01:14:21,875 --> 01:14:24,291
The myth
from Eurydice's point of view.

1062
01:14:24,416 --> 01:14:26,333
Love as admiration,

1063
01:14:28,291 --> 01:14:31,000
being impressed by someone.

1064
01:14:33,875 --> 01:14:37,250
It was important
to get a sense of the environment,

1065
01:14:37,375 --> 01:14:39,708
to link the scene by the fireside
with the moors.

1066
01:14:39,833 --> 01:14:43,416
It's a more nocturnal sensation,
the notion of silhouettes.

1067
01:14:45,208 --> 01:14:48,166
This was obviously
a key scene in the film,

1068
01:14:48,291 --> 01:14:49,875
one of the formative scenes.

1069
01:14:52,333 --> 01:14:54,250
I didn't want to be too realistic,

1070
01:14:54,375 --> 01:14:56,791
too constrained by the flames.

1071
01:14:56,916 --> 01:15:00,166
This whole sequence
takes place around the fire,

1072
01:15:00,291 --> 01:15:01,666
but you see very little of it.

1073
01:15:02,666 --> 01:15:05,041
We set it up at the start.

1074
01:15:05,166 --> 01:15:08,416
Then we retain this image for the shot
of the portrait of the lady on fire.

1075
01:15:14,166 --> 01:15:17,708
I wanted the backgrounds
to convey a sense of the vegetation

1076
01:15:18,541 --> 01:15:22,750
by giving depth to the image
with its hazy light.

1077
01:15:27,583 --> 01:15:32,291
That allowed me to be less monochrome
and to keep the colours subtle.

1078
01:15:32,416 --> 01:15:34,166
It was very important to me
to keep the warmth

1079
01:15:34,291 --> 01:15:37,083
without losing the tones
of the skin and the costumes.

1080
01:15:42,416 --> 01:15:46,416
The light came from a combination
of artificial sources and the fire.

1081
01:15:47,458 --> 01:15:51,916
The fire was often replaced by gas lights
to temper the flames.

1082
01:15:52,041 --> 01:15:55,541
She says I'm still pregnant
and to come back in two days.

1083
01:15:56,416 --> 01:15:57,833
I'll come with you.

1084
01:15:59,375 --> 01:16:04,583
The artificial lights allowed me to choose
the direction of the light on the faces

1085
01:16:04,708 --> 01:16:08,083
and to retain a softness,
because a flame is a harsh light.

1086
01:16:09,125 --> 01:16:12,791
Also to limit the variation in the light,
the flickering of the flames,

1087
01:16:13,291 --> 01:16:16,500
which was too much,

1088
01:16:16,625 --> 01:16:19,500
vying for attention
with the facial expressions.

1089
01:16:24,708 --> 01:16:26,541
The first musical scene in the film,

1090
01:16:28,000 --> 01:16:29,791
a piece composed for the film,

1091
01:16:29,916 --> 01:16:32,000
its anthem or perhaps
an anthem for something else.

1092
01:16:33,750 --> 01:16:37,125
| asked for something
polyphonic, polyrhythmic,

1093
01:16:37,250 --> 01:16:39,750
with a high number of beats per minute
to evoke a trance.

1094
01:16:40,750 --> 01:16:43,625
The scene starts
with a sort of normality,

1095
01:16:43,750 --> 01:16:46,958
the idea of women
meeting round a fire

1096
01:16:47,083 --> 01:16:49,333
to drink and chat.

1097
01:16:49,458 --> 01:16:52,541
This was about friendship. Maybe
friends is what so-called witches were.

1098
01:16:53,500 --> 01:16:56,208
And then their song,
which fires up the imagination.

1099
01:16:57,083 --> 01:16:58,583
We had the tools of filmmaking.

1100
01:16:59,166 --> 01:17:03,041
We started
with a really realistic sound.

1101
01:17:03,166 --> 01:17:07,625
These women were singing on set.

1102
01:17:08,666 --> 01:17:13,583
But we soon mixed in bigger sounds
than the sounds on set.

1103
01:17:14,916 --> 01:17:16,458
And we weren't afraid to go for it.

1104
01:17:23,916 --> 01:17:26,708
This group scene
is also a love scene.

1105
01:17:27,791 --> 01:17:29,083
These women singing

1106
01:17:29,208 --> 01:17:33,083
accompanies
the first exchange of smiles

1107
01:17:33,208 --> 01:17:36,958
between the two main characters
one hour and ten minutes into the film.

1108
01:17:44,375 --> 01:17:45,833
The words are in Latin.

1109
01:17:45,958 --> 01:17:49,458
It's a rough translation of a line
by Nietzsche which says:

1110
01:17:49,583 --> 01:17:53,125
"The higher we soar, the smaller
we appear to those who cannot fly."

1111
01:17:58,583 --> 01:18:01,791
The desired image,
the eponymous image.

1112
01:18:02,583 --> 01:18:05,833
Literally setting the character on fire.

1113
01:18:07,666 --> 01:18:09,041
I remember the moment I realised

1114
01:18:09,875 --> 01:18:12,291
the extent to which a painting
is not a photograph of an instant

1115
01:18:12,416 --> 01:18:15,458
but a much freer interpretation

1116
01:18:15,583 --> 01:18:17,166
despite its realism.

1117
01:18:19,250 --> 01:18:21,958
The link shot of the extended hand

1118
01:18:23,875 --> 01:18:25,833
towards another space-time

1119
01:18:25,958 --> 01:18:27,458
was written into the screenplay.

1120
01:18:29,250 --> 01:18:30,750
It's a leap.

1121
01:18:30,875 --> 01:18:33,708
Overall in the film
we did a lot of work on scenes

1122
01:18:33,833 --> 01:18:36,666
which started as one thing
and became something else.

1123
01:18:36,791 --> 01:18:40,708
And for this scene of the first kiss
the opposite was true.

1124
01:18:40,833 --> 01:18:43,833
We go from one scene to the next
with a radical ellipsis.

1125
01:18:48,291 --> 01:18:49,750
This scene of the first kiss,

1126
01:18:52,666 --> 01:18:55,208
a lot of thought went into it.

1127
01:18:56,083 --> 01:18:58,875
How do you film a first kiss?

1128
01:18:59,000 --> 01:19:01,166
What is a first kiss?

1129
01:19:03,625 --> 01:19:06,458
What will we remember

1130
01:19:07,875 --> 01:19:09,791
about what leads to the kiss?

1131
01:19:09,916 --> 01:19:12,250
And it's that choreography
we are thinking of.

1132
01:19:13,541 --> 01:19:18,416
The long tracking shot of the rocks
and then this link shot of her walking.

1133
01:19:18,541 --> 01:19:22,250
And these scarves
which were intended for this scene.

1134
01:19:22,375 --> 01:19:25,291
Because we wanted
to show their faces afresh

1135
01:19:25,416 --> 01:19:28,166
and to work
on the eroticism of consent

1136
01:19:29,791 --> 01:19:32,041
with the idea
that they would uncover their mouths

1137
01:19:36,916 --> 01:19:41,458
and the fabric dancing on their lips
would show their heavy breathing.

1138
01:19:46,083 --> 01:19:47,583
The cave, the sound work.

1139
01:19:49,625 --> 01:19:52,666
Their hearts beating,
the tide coming in.

1140
01:19:55,000 --> 01:19:57,041
Their hearts in their stomachs.

1141
01:20:04,708 --> 01:20:09,500
From that moment on,
the pace of the film changes.

1142
01:20:09,625 --> 01:20:13,500
Another new chapter:
the inevitable happens.

1143
01:20:15,333 --> 01:20:18,166
From now on time passes differently.

1144
01:20:28,208 --> 01:20:33,666
With the help of sequence shots
we create new pulsations.

1145
01:20:36,208 --> 01:20:39,000
The same grammar,
different rules.

1146
01:21:09,125 --> 01:21:10,916
It's coq au vin.

1147
01:21:14,958 --> 01:21:16,833
What about Héloi'se?

1148
01:21:16,958 --> 01:21:19,625
She isn't well.
She doesn't want dinner.

1149
01:21:28,541 --> 01:21:31,250
Here the fantasy dimension
reasserts itself,

1150
01:21:31,375 --> 01:21:33,958
and you sense that from the sound.

1151
01:21:35,541 --> 01:21:37,333
The sound is spatialised.

1152
01:21:45,666 --> 01:21:48,250
It also conveys
reverberations, the breath.

1153
01:21:56,625 --> 01:21:59,458
This apparition of Héloi'se
was a camera effect.

1154
01:22:02,500 --> 01:22:05,250
The beauty of camera effects
in filmmaking

1155
01:22:05,375 --> 01:22:07,833
is that they are tried and tested,

1156
01:22:07,958 --> 01:22:10,250
but you always feel
as if you are inventing something new,

1157
01:22:10,375 --> 01:22:13,291
because you have to invent something,
to construct something,

1158
01:22:13,416 --> 01:22:15,333
to create this image of the past.

1159
01:22:19,375 --> 01:22:21,416
It requires a lot of faith.

1160
01:22:21,541 --> 01:22:22,833
It's very religious.

1161
01:22:25,708 --> 01:22:27,041
And here...

1162
01:22:29,000 --> 01:22:31,916
...the only shot to quote another film.

1163
01:22:38,666 --> 01:22:43,000
This shot, which is a nod
to Persona by Bergman,

1164
01:22:43,125 --> 01:22:46,750
especially through the next link shot.

1165
01:23:00,000 --> 01:23:01,958
It's a quotation
and yet you always think...

1166
01:23:03,500 --> 01:23:05,958
...when you love someone
that you're inventing something new.

1167
01:23:12,500 --> 01:23:14,958
I thought you had been scared off.

1168
01:23:17,291 --> 01:23:18,791
You were right.

1169
01:23:20,000 --> 01:23:21,208
I'm scared.

1170
01:23:40,041 --> 01:23:43,375
Do all lovers feel
they're inventing something?

1171
01:23:48,416 --> 01:23:50,208
I know the gestures.

1172
01:23:52,291 --> 01:23:54,500
I imagined it all, waiting for you.

1173
01:23:55,416 --> 01:23:57,291
You dreamt of me?

1174
01:24:00,875 --> 01:24:02,375
I thought of you.

1175
01:24:33,916 --> 01:24:35,208
Sophie.

1176
01:24:37,291 --> 01:24:41,333
A bit more of an expectation
that she will behave as a servant.

1177
01:24:41,458 --> 01:24:44,083
She knocks on the door.
What goes on behind closed doors?

1178
01:24:44,208 --> 01:24:46,125
But that's not the issue for her.

1179
01:24:46,250 --> 01:24:47,666
I'm coming.

1180
01:24:47,791 --> 01:24:50,416
The issue is whether or not
they're going to accompany her.

1181
01:24:52,625 --> 01:24:53,625
Get up.

1182
01:24:53,750 --> 01:24:56,541
The intimacy of the morning after
rather than the night before.

1183
01:25:00,333 --> 01:25:02,125
Marianne has her hands
in her pockets.

1184
01:25:02,250 --> 01:25:04,166
It's an important detail.

1185
01:25:04,291 --> 01:25:08,666
I was obsessed,
when we were creating the costumes,

1186
01:25:08,791 --> 01:25:10,708
with the character having pockets.

1187
01:25:10,833 --> 01:25:12,791
Noémie Merlant had
a whole file on pockets.

1188
01:25:12,916 --> 01:25:15,416
She knew when she was meant
to put her hands in her pockets.

1189
01:25:17,708 --> 01:25:20,875
The shape seems modern,
but it's not anachronistic.

1190
01:25:21,000 --> 01:25:22,458
Women had pockets
in those days.

1191
01:25:22,583 --> 01:25:25,041
They removed them in the 19th century,
like so many other things.

1192
01:25:29,458 --> 01:25:32,583
The scene of the abortion
was very tricky to film.

1193
01:25:32,708 --> 01:25:34,958
We shot it at the end
of the first week.

1194
01:25:35,083 --> 01:25:38,750
We only visited the location once.
It was a sort of museum.

1195
01:25:40,583 --> 01:25:42,625
Those sorts of sets aren't ideal.

1196
01:25:44,166 --> 01:25:47,666
There are extras, characters
who only appear once.

1197
01:25:47,791 --> 01:25:50,083
That's Christel Baras,
the casting director.

1198
01:25:52,750 --> 01:25:54,166
She's a great actress.

1199
01:25:55,166 --> 01:25:58,875
And the biggest challenge
in this scene

1200
01:25:59,583 --> 01:26:01,000
was the child.

1201
01:26:02,041 --> 01:26:03,166
A young child.

1202
01:26:04,750 --> 01:26:09,125
And the scene revolves
around the child.

1203
01:26:11,208 --> 01:26:12,208
Lie down.

1204
01:26:12,333 --> 01:26:14,791
When you get ready to shoot
a scene like this,

1205
01:26:14,916 --> 01:26:18,291
you feel very alone,
because there are no pointers,

1206
01:26:18,416 --> 01:26:19,958
there are very few instances of it.

1207
01:26:20,083 --> 01:26:22,333
There are no precedents
in the history of filmmaking.

1208
01:26:23,916 --> 01:26:28,125
And I took little pleasure
in being a pioneer.

1209
01:26:28,250 --> 01:26:31,541
Calling people pioneers
is just a way of rewarding those

1210
01:26:32,625 --> 01:26:35,083
who feel as if they're doing
something for the first time.

1211
01:26:35,208 --> 01:26:36,208
Deep breaths.

1212
01:26:36,333 --> 01:26:37,541
But it's not enough.

1213
01:26:38,916 --> 01:26:40,666
It's not enough to be landed
with the scene.

1214
01:26:40,791 --> 01:26:43,458
You need to love it,
there needs to be a desire for it,

1215
01:26:43,583 --> 01:26:46,666
something unique to the film,
and what's unique here is the child.

1216
01:26:50,000 --> 01:26:52,666
Filming with a child requires

1217
01:26:53,333 --> 01:26:55,416
maximum comfort for the child

1218
01:26:55,541 --> 01:26:57,541
which means minimum comfort for you.

1219
01:27:01,583 --> 01:27:03,083
And you have to...

1220
01:27:04,500 --> 01:27:07,750
...have faith in a very long take.

1221
01:27:07,875 --> 01:27:11,875
You link the shots.
I was sitting just beside them.

1222
01:27:12,000 --> 01:27:15,375
I was right beside Luéna Bajrami,
the actress.

1223
01:27:15,958 --> 01:27:17,375
I talked her through it.

1224
01:27:18,875 --> 01:27:23,000
And it was a question
of when to start and when to finish,

1225
01:27:23,125 --> 01:27:26,041
making sure the child was OK
and trusting her.

1226
01:27:27,750 --> 01:27:30,041
The child was meant
to put his hand on her chest.

1227
01:27:30,166 --> 01:27:32,416
That was in the screenplay.

1228
01:27:33,666 --> 01:27:35,125
Instead he wiped away her tears.

1229
01:27:40,166 --> 01:27:42,291
Those weren't miracles,
they were decisions.

1230
01:27:44,291 --> 01:27:45,958
Go to bed.

1231
01:27:47,458 --> 01:27:48,916
I'll watch over her.

1232
01:27:51,125 --> 01:27:52,916
I don't want to go to bed.

1233
01:27:53,666 --> 01:27:56,291
This was a link shot
that I knew to be disturbing.

1234
01:27:56,416 --> 01:27:57,791
Sophie?

1235
01:27:58,750 --> 01:28:00,208
Are you asleep?

1236
01:28:03,541 --> 01:28:08,166
Because, straight after that scene
depicting the abortion,

1237
01:28:09,625 --> 01:28:16,375
we enter a new dynamic
and the abortion is re-enacted.

1238
01:28:17,541 --> 01:28:19,875
It was very important to me,

1239
01:28:20,000 --> 01:28:25,166
even if it has a double-trigger effect,
or rather a double-tension one.

1240
01:28:27,791 --> 01:28:30,125
It was important
to show both the abortion

1241
01:28:30,250 --> 01:28:33,583
and the importance
of showing it.

1242
01:28:33,708 --> 01:28:35,666
Because that's what happened.

1243
01:28:35,791 --> 01:28:38,291
That's what happened

1244
01:28:38,416 --> 01:28:40,958
when women were denied
the opportunity to be artists.

1245
01:28:43,041 --> 01:28:45,833
Get your things.
We 're going to paint.

1246
01:28:45,958 --> 01:28:48,666
They didn't paint their private lives.

1247
01:28:50,041 --> 01:28:53,708
They didn't paint their desires,
they didn't paint their bodies.

1248
01:28:53,833 --> 01:28:55,333
They didn't paint their lives

1249
01:28:56,250 --> 01:29:00,625
And all these images are missing
from art history but also from our lives.

1250
01:29:01,416 --> 01:29:04,333
It was Annie Ernaux who said
that in no museum in the world

1251
01:29:04,458 --> 01:29:07,083
is there a painting called
"The Backstreet Abortionist".

1252
01:29:11,041 --> 01:29:14,375
So this scene comes
a bit too quickly, perhaps, but...

1253
01:29:16,791 --> 01:29:18,333
...it's so we don't forget.

1254
01:29:18,458 --> 01:29:19,458
Look at her.

1255
01:29:19,583 --> 01:29:21,958
It's so we don't forget
that art creates memory.

1256
01:29:22,083 --> 01:29:23,583
Arch your back a little.

1257
01:29:27,000 --> 01:29:30,041
And I also wanted
to show the pleasure...

1258
01:29:30,166 --> 01:29:31,333
Straighten your head.

1259
01:29:31,458 --> 01:29:33,291
...of showing,

1260
01:29:33,416 --> 01:29:36,500
which we see on Marianne's face.

1261
01:29:36,625 --> 01:29:41,041
And also to show
the model's impulse,

1262
01:29:41,166 --> 01:29:42,500
her intelligence.

1263
01:29:42,625 --> 01:29:45,166
She tells us what to look at.

1264
01:29:45,291 --> 01:29:47,791
She had the idea of painting it.

1265
01:29:47,916 --> 01:29:51,666
Women's only chance
to be in artists' studios

1266
01:29:51,791 --> 01:29:54,958
was as models,
and they seized that opportunity.

1267
01:29:55,083 --> 01:29:56,708
That's how they created
works of art.

1268
01:30:04,541 --> 01:30:05,750
This is my favourite painting.

1269
01:30:08,666 --> 01:30:10,083
It was never finished.

1270
01:30:31,625 --> 01:30:33,541
Another painting about desire.

1271
01:30:34,625 --> 01:30:36,208
Sending out signals.

1272
01:30:36,333 --> 01:30:40,208
Conveying desire in the film
rested on their shoulders.

1273
01:30:41,833 --> 01:30:43,291
Sending signals and receiving them.

1274
01:30:43,416 --> 01:30:44,875
What you're doing.

1275
01:30:48,833 --> 01:30:52,333
Adéle and I didn't work
on our relationship before filming.

1276
01:30:52,458 --> 01:30:53,458
Be serious.

1277
01:30:53,583 --> 01:30:55,916
We didn't prepare the scenes.

1278
01:30:56,041 --> 01:30:57,541
On the contrary, it was created

1279
01:30:58,583 --> 01:31:02,875
in an environment
of collaboration and benevolence.

1280
01:31:03,000 --> 01:31:05,000
From the start, a horizontal look,

1281
01:31:05,125 --> 01:31:07,791
and it's that horizontal look
that the film is about,

1282
01:31:07,916 --> 01:31:10,041
the way collaborators
look at one another.

1283
01:31:10,166 --> 01:31:14,416
That vision that Céline shares
in her way of working

1284
01:31:14,541 --> 01:31:17,791
helped us to form this relationship.

1285
01:31:19,333 --> 01:31:21,291
Adéle and | formed a relationship,

1286
01:31:21,416 --> 01:31:23,958
getting to know one another
as the shoot went on.

1287
01:31:24,083 --> 01:31:25,666
We observed one another.

1288
01:31:25,791 --> 01:31:30,458
We used that to create the relationship
between Heloise and Marianne.

1289
01:31:39,666 --> 01:31:43,208
A show of intimacy, of nudity.

1290
01:31:44,500 --> 01:31:45,666
And sexuality.

1291
01:31:48,958 --> 01:31:50,958
I bought it from a woman at the feast.

1292
01:31:51,958 --> 01:31:56,208
It's a plant.
She said it makes you fly.

1293
01:31:56,333 --> 01:32:01,166
Generally in films,
shooting sex scenes is stressful

1294
01:32:01,291 --> 01:32:03,166
because there's no idea.

1295
01:32:04,500 --> 01:32:09,958
So, as an actor, you find yourself
having to simulate coitus in a wide shot

1296
01:32:10,083 --> 01:32:14,250
and you feel extremely vulnerable
because your body is on display,

1297
01:32:14,375 --> 01:32:15,583
which is very intimate,

1298
01:32:17,166 --> 01:32:18,583
and you're not given any direction.

1299
01:32:18,708 --> 01:32:22,875
What's great about this film
is that there is eroticism,

1300
01:32:26,041 --> 01:32:28,041
but it is sheltered by an idea.

1301
01:32:32,875 --> 01:32:36,916
For me the idea of penetrating
the armpits added a sort of humour

1302
01:32:37,041 --> 01:32:38,625
which is often lacking in sex scenes.

1303
01:32:38,750 --> 01:32:42,458
Generally sex scenes reflect
the way they are done,

1304
01:32:42,583 --> 01:32:45,041
they reflect a moment on set.

1305
01:32:47,666 --> 01:32:50,208
This moment on set was joyful.

1306
01:32:52,791 --> 01:32:56,625
And I was very happy
to be able to take part

1307
01:32:56,750 --> 01:32:59,625
in a sort of demonstration

1308
01:32:59,750 --> 01:33:01,958
that eroticism is linked
to the intellect.

1309
01:33:10,000 --> 01:33:11,416
Your eyes.

1310
01:33:23,000 --> 01:33:25,958
The second scene
with the ghostly apparition.

1311
01:33:27,750 --> 01:33:30,541
A good rule for a screenplay
is a rule of three.

1312
01:33:30,666 --> 01:33:35,791
And it plants the idea
that Marianne is tempted by an image

1313
01:33:35,916 --> 01:33:38,375
which seems to be in the future.

1314
01:33:38,500 --> 01:33:43,208
To my mind love affairs
are always haunted by their ending.

1315
01:34:02,750 --> 01:34:04,458
You have to drink.

1316
01:34:11,958 --> 01:34:14,708
This was an attempt
to democratise this motif.

1317
01:34:54,250 --> 01:34:57,875
This was one of the scenes
we did the most takes for.

1318
01:35:01,708 --> 01:35:06,958
It's the film's main scene for dialogue
and possibly for conflict too.

1319
01:35:07,083 --> 01:35:09,791
But it's not orchestrated
as a scene of conflict.

1320
01:35:09,916 --> 01:35:13,375
It's not orchestrated
as arguments and negotiations.

1321
01:35:14,291 --> 01:35:20,625
The power struggle between the two
is a discourse.

1322
01:35:21,458 --> 01:35:27,208
And that's the real pleasure,
the challenge of the film,

1323
01:35:27,333 --> 01:35:29,708
to show characters
who are in a dialogue with one another.

1324
01:35:30,916 --> 01:35:35,208
They listen to one another
and bounce ideas off one another.

1325
01:35:37,458 --> 01:35:39,416
You didn't destroy the last one for me.

1326
01:35:39,541 --> 01:35:42,333
There was a basic desire to create
a sense of the present tense...

1327
01:35:42,458 --> 01:35:43,500
You did it for you.

1328
01:35:43,625 --> 01:35:45,625
...through something written,

1329
01:35:45,750 --> 01:35:48,583
and people know it's written

1330
01:35:48,708 --> 01:35:51,583
because the dialogue is literary.

1331
01:35:51,708 --> 01:35:53,791
But there's a pleasure
in creating a present

1332
01:35:53,916 --> 01:35:56,250
because the characters' thinking
is in the present

1333
01:35:56,375 --> 01:36:00,041
and enacted by the actresses
in the present.

1334
01:36:02,208 --> 01:36:03,500
Through it, I give you to another.

1335
01:36:03,625 --> 01:36:05,250
It was one of the pleasures...

1336
01:36:08,250 --> 01:36:10,791
...of these scenes with dialogue

1337
01:36:10,916 --> 01:36:13,333
which have the vocation
of conveying the spoken word.

1338
01:36:18,458 --> 01:36:23,291
This scene didn't necessarily go
to where we imagined it would.

1339
01:36:23,416 --> 01:36:25,250
Now you possess me a little,
you bear me a grudge.

1340
01:36:25,375 --> 01:36:28,750
Yes, I expressed a lot of anger
in the first takes.

1341
01:36:28,875 --> 01:36:31,750
Then it was your turn.

1342
01:36:31,875 --> 01:36:36,500
I was more expressive to start with,
then the idea was to rein in the emotion

1343
01:36:36,625 --> 01:36:42,500
and to make it less explosive
and more horizontal.

1344
01:36:42,625 --> 01:36:44,125
I did my takes

1345
01:36:44,250 --> 01:36:46,541
and we ended up
with what's in the film,

1346
01:36:46,666 --> 01:36:48,583
something much more controlled,

1347
01:36:48,708 --> 01:36:51,958
and as a result
you asked to do another take.

1348
01:36:52,875 --> 01:36:55,750
| asked to redo a take...

1349
01:36:56,916 --> 01:37:00,833
...where everything
was more reined in and contained.

1350
01:37:00,958 --> 01:37:02,958
- And still.
- Yes, still,

1351
01:37:03,083 --> 01:37:05,541
compared to the first take
which was much more...

1352
01:37:05,666 --> 01:37:07,750
- ...agitated.
- Agitated, yes.

1353
01:37:11,291 --> 01:37:12,500
That's it then.

1354
01:37:13,916 --> 01:37:15,250
You find me docile.

1355
01:37:16,291 --> 01:37:17,375
Worse. . .

1356
01:37:18,958 --> 01:37:20,666
You imagine I'm collusive.

1357
01:37:22,916 --> 01:37:24,291
You imagine my pleasure.

1358
01:37:25,041 --> 01:37:26,541
It's a way of avoiding hope.

1359
01:37:26,666 --> 01:37:30,541
There was the sense that
if we overdid it, the information got lost.

1360
01:37:30,666 --> 01:37:32,375
...happy or unhappy...

1361
01:37:32,500 --> 01:37:37,208
The idea for us as actors
is to unfold the emotions,

1362
01:37:37,333 --> 01:37:39,708
to give them a rhythm.

1363
01:37:39,833 --> 01:37:41,791
You'd prefer me to resist.

1364
01:37:43,750 --> 01:37:45,250
Here you've got ambiguity.

1365
01:37:46,708 --> 01:37:47,958
Yes, she'd prefer her to resist.

1366
01:37:48,083 --> 01:37:49,625
Are you asking me to?

1367
01:37:53,666 --> 01:37:54,666
Answer me.

1368
01:37:57,291 --> 01:38:00,250
"No, I'm not asking you to"
or, "No, I'm not answering"?

1369
01:38:10,750 --> 01:38:12,708
The still life
with a bit less life in it now.

1370
01:38:21,750 --> 01:38:23,166
A vanitas.

1371
01:38:26,625 --> 01:38:28,250
The rapid footsteps

1372
01:38:28,375 --> 01:38:30,291
which, as so often in the film,

1373
01:38:30,416 --> 01:38:31,583
herald an announcement.

1374
01:38:31,708 --> 01:38:33,583
Have you seen Héloi'se?

1375
01:38:33,708 --> 01:38:36,125
No. She isn't in her room.

1376
01:38:39,666 --> 01:38:41,250
We've had news.

1377
01:38:43,333 --> 01:38:45,583
Madam returns tomorrow.

1378
01:38:45,708 --> 01:38:47,458
Very well.

1379
01:38:47,583 --> 01:38:49,041
Will you be ready?

1380
01:38:51,416 --> 01:38:53,000
Yes.

1381
01:39:01,833 --> 01:39:03,750
It's been a while
since we were outside.

1382
01:39:05,791 --> 01:39:08,833
This scene was filmed
on the third day of shooting.

1383
01:39:08,958 --> 01:39:12,958
It was the first big scene
of intimacy that we shot.

1384
01:39:13,083 --> 01:39:15,333
We spent a lot of time
getting the level of emotion right.

1385
01:39:17,750 --> 01:39:20,208
This was one of the last takes.

1386
01:39:20,333 --> 01:39:24,000
For ages when we were editing the film
I found the first take to be

1387
01:39:25,000 --> 01:39:27,458
good, satisfactory, moving.

1388
01:39:27,583 --> 01:39:32,333
It was a take
where the emotion was less buried.

1389
01:39:33,958 --> 01:39:38,416
And in the end we chose this one

1390
01:39:38,541 --> 01:39:41,250
which was more bathed in tears

1391
01:39:42,291 --> 01:39:43,875
Your mother returns tomorrow.

1392
01:39:44,000 --> 01:39:46,666
More devastating,
for Marianne in particular.

1393
01:39:48,541 --> 01:39:52,750
She's the character
who lays bare her emotions

1394
01:39:52,875 --> 01:39:54,083
in the film.

1395
01:39:56,916 --> 01:39:58,625
This was the eighth take.

1396
01:40:01,791 --> 01:40:04,083
There is exhaustion, tension, abandon.

1397
01:40:06,291 --> 01:40:07,958
And Noémie Merlant's tears.

1398
01:40:12,791 --> 01:40:14,416
We kept it long.

1399
01:40:30,250 --> 01:40:35,208
Now, after that last outpouring

1400
01:40:35,333 --> 01:40:37,291
with the waves, the ocean,

1401
01:40:37,416 --> 01:40:40,666
the sound is really spare.

1402
01:40:40,791 --> 01:40:44,125
There's no such thing as silence
in the cinema. Something always fills it.

1403
01:40:45,833 --> 01:40:51,333
Obviously, the sound here is spatialised
so there is more than one thing filling it,

1404
01:40:51,458 --> 01:40:54,541
maybe five things at any one time.

1405
01:40:54,666 --> 01:40:57,000
It takes a lot of reflection
to create silence.

1406
01:40:57,125 --> 01:41:00,125
What is the silence made of?
What note? What wind?

1407
01:41:01,791 --> 01:41:04,583
Do you want it to be felt?
Do you want it to be ignored?

1408
01:41:07,208 --> 01:41:09,500
Here we are just left
with the voices

1409
01:41:09,625 --> 01:41:12,000
and the bodies.

1410
01:41:12,125 --> 01:41:16,375
Silence is also about making room
for the bodies,

1411
01:41:16,500 --> 01:41:20,166
for the sound of the bodies
of the characters and the actors,

1412
01:41:20,291 --> 01:41:23,000
the direct sound of their breath.

1413
01:41:23,125 --> 01:41:27,291
And this silence relies
on being able to listen.

1414
01:41:27,416 --> 01:41:30,791
We always think of the sensations,
of the sensory experience

1415
01:41:30,916 --> 01:41:33,708
the film gives the audience.

1416
01:41:33,833 --> 01:41:37,416
This silence makes them
listen to their own breath.

1417
01:41:37,541 --> 01:41:42,250
They are sharing the space
with their neighbours' bodies

1418
01:41:42,375 --> 01:41:45,041
and the emotions can be heard.

1419
01:41:52,916 --> 01:41:56,708
And the listening experience
you create with a void

1420
01:41:56,833 --> 01:42:01,250
makes the audience focus
and pay attention

1421
01:42:01,375 --> 01:42:04,000
to their own emotion.

1422
01:42:14,291 --> 01:42:15,375
Finished.

1423
01:42:20,875 --> 01:42:22,708
The portrait is done,
but the story carries on.

1424
01:42:25,375 --> 01:42:26,666
With another portrait.

1425
01:42:26,791 --> 01:42:27,791
Who is that for?

1426
01:42:28,291 --> 01:42:30,875
Here the idea was
to show the miniatures.

1427
01:42:31,000 --> 01:42:35,291
Miniatures were often painted
by women

1428
01:42:35,416 --> 01:42:38,958
and that's partly why
so many of them are lost.

1429
01:42:39,083 --> 01:42:43,250
Miniatures are lost
in private collections.

1430
01:42:45,083 --> 01:42:48,875
These great little works
are not in our archives.

1431
01:42:49,000 --> 01:42:50,500
After a while,

1432
01:42:51,791 --> 01:42:55,500
you'll see her
when you think of me.

1433
01:42:55,625 --> 01:42:58,750
There is something very contemporary
about this scene.

1434
01:42:58,875 --> 01:43:00,958
They have their hair down.

1435
01:43:01,083 --> 01:43:02,291
I'll have no image of you.

1436
01:43:02,416 --> 01:43:07,000
There are no costumes,
just the shoulders of naked bodies.

1437
01:43:07,125 --> 01:43:08,291
Do you want an image of me?

1438
01:43:08,416 --> 01:43:11,541
And we no longer know
which era this is.

1439
01:43:13,875 --> 01:43:17,083
The point where I say 28...

1440
01:43:17,208 --> 01:43:18,541
That one.

1441
01:43:18,666 --> 01:43:21,041
There was going to be
a justification for it.

1442
01:43:21,166 --> 01:43:22,875
Why 28?
Because it's my age.

1443
01:43:23,000 --> 01:43:26,708
But we cut it,
and taking that decision on set meant

1444
01:43:26,833 --> 01:43:31,916
a new mystery was created because,
without the explanation, when I said...

1445
01:43:32,041 --> 01:43:33,166
Twenty-eight.

1446
01:43:33,291 --> 01:43:37,333
When I said 28, I thought,
I'm going to create a treasure.

1447
01:43:37,458 --> 01:43:42,541
No one else will know what it means,
but it's meaningful to her at that moment.

1448
01:43:47,625 --> 01:43:50,083
The story really lends itself
to these scenes.

1449
01:43:50,208 --> 01:43:54,791
They are so charged
that they become almost dreamlike.

1450
01:43:56,875 --> 01:43:58,333
One or two takes.

1451
01:43:59,541 --> 01:44:03,916
There's the idea of the mirror
in which the painter's face is reflected.

1452
01:44:04,041 --> 01:44:06,291
That was also a nod to...

1453
01:44:08,708 --> 01:44:09,958
...Francesca Woodman,

1454
01:44:11,625 --> 01:44:13,083
the photographer from New York.

1455
01:44:18,875 --> 01:44:24,125
This scene wasn't in the screenplay.

1456
01:44:24,250 --> 01:44:29,708
I wrote it specifically
for the last round of auditions

1457
01:44:29,833 --> 01:44:32,083
when we chose Noémie Merlant.

1458
01:44:34,291 --> 01:44:38,708
I had decided to write a scene
specifically for the auditions,

1459
01:44:39,833 --> 01:44:45,875
a scene that would allow me
to evaluate the degree of intimacy,

1460
01:44:46,000 --> 01:44:50,916
the melodrama, the emotion,
a scene with everything in it.

1461
01:44:52,000 --> 01:44:55,375
A farewell scene
before the farewells.

1462
01:44:56,375 --> 01:44:59,000
This scene was a determining factor,
practically a revelation,

1463
01:45:00,041 --> 01:45:02,083
in the choice of Noémie Merlant.

1464
01:45:05,750 --> 01:45:09,500
| filmed this scene
I had written an hour previously.

1465
01:45:09,625 --> 01:45:11,000
Remember.

1466
01:45:11,125 --> 01:45:14,458
It was moving and the scene worked.

1467
01:45:14,583 --> 01:45:18,333
In particular it worked between them,
there was a real chemistry,

1468
01:45:18,458 --> 01:45:21,458
a real closeness,
a real friendship...

1469
01:45:21,583 --> 01:45:23,625
you fell asleep in the kitchen.

1470
01:45:23,750 --> 01:45:26,708
It was very seductive
without any seducing.

1471
01:45:27,916 --> 01:45:29,291
I 'll remember...

1472
01:45:31,541 --> 01:45:33,041
your dark look.

1473
01:45:33,166 --> 01:45:35,500
The electricity between them
was so strong

1474
01:45:35,625 --> 01:45:39,750
that, as | filmed the scene,
my heart was pounding

1475
01:45:39,875 --> 01:45:41,250
and I thought, "That's it."

1476
01:45:42,250 --> 01:45:46,125
I saw a real equality.

1477
01:45:47,208 --> 01:45:49,250
You took your time being funny.

1478
01:45:49,958 --> 01:45:51,166
That's true.

1479
01:45:51,958 --> 01:45:53,166
I wasted time.

1480
01:45:53,291 --> 01:45:54,916
Between the two lovers.

1481
01:45:55,041 --> 01:45:56,750
I wasted time, too.

1482
01:45:56,875 --> 01:45:58,750
It was something new

1483
01:45:59,875 --> 01:46:02,833
and it was something
we had created together.

1484
01:46:02,958 --> 01:46:06,583
l'll remember the first time
I wanted to kiss you.

1485
01:46:09,875 --> 01:46:10,875
When was that?

1486
01:46:11,000 --> 01:46:16,416
It's a top shot
so we had all the machinery in place

1487
01:46:16,541 --> 01:46:18,708
in the background.

1488
01:46:18,833 --> 01:46:20,583
At the feast around the bonfire.

1489
01:46:20,708 --> 01:46:22,833
To show the point of view
of God, almost...

1490
01:46:22,958 --> 01:46:23,958
I wanted to, yes.

1491
01:46:24,083 --> 01:46:25,333
...of this intimate exchange.

1492
01:46:25,458 --> 01:46:27,583
But that wasn't the first time.

1493
01:46:27,708 --> 01:46:30,458
My heart was beating so fast
during these takes.

1494
01:46:30,583 --> 01:46:31,791
Tell me.

1495
01:46:33,291 --> 01:46:34,875
No, you tell me.

1496
01:46:35,000 --> 01:46:38,958
We only shot four takes
for this scene.

1497
01:46:41,500 --> 01:46:44,125
We worked on the lighting...

1498
01:46:44,250 --> 01:46:45,750
When you asked
if had known love.

1499
01:46:45,875 --> 01:46:50,791
...on the way their hair is lit.

1500
01:46:50,916 --> 01:46:53,125
I could tell the answer was yes.

1501
01:46:54,041 --> 01:46:55,833
And that it was now.

1502
01:46:55,958 --> 01:46:57,708
It looks timeless.

1503
01:47:01,500 --> 01:47:03,000
I remember.

1504
01:47:11,125 --> 01:47:14,625
I gave a lot of thought to this shot.
It may not look like much.

1505
01:47:14,750 --> 01:47:18,833
With scenes like that, you arrive on set
and no one knows how it will turn out.

1506
01:47:18,958 --> 01:47:20,291
You just know
you have to shoot it.

1507
01:47:21,916 --> 01:47:24,625
And you spend time together,
arranging the hair.

1508
01:47:32,083 --> 01:47:36,416
This sequence shot
has a very particular rhythm.

1509
01:47:38,666 --> 01:47:40,791
A man enters the frame.

1510
01:47:40,916 --> 01:47:42,083
Good morning.

1511
01:47:42,208 --> 01:47:43,333
Good morning.

1512
01:47:46,000 --> 01:47:48,958
A good morning is enough
to remind us

1513
01:47:50,166 --> 01:47:52,291
of all the people
whose story we haven't told.

1514
01:47:53,166 --> 01:47:54,666
Itjust takes a man's body...

1515
01:47:56,083 --> 01:47:57,833
...to tell the story we haven't told.

1516
01:47:59,041 --> 01:48:00,833
They're here.

1517
01:48:00,958 --> 01:48:04,041
The film chose to tell the story
of a possible love affair.

1518
01:48:05,375 --> 01:48:10,375
In other words,
what it put in the centre of the frame

1519
01:48:10,500 --> 01:48:12,708
was what was possible,
what was bearable.

1520
01:48:12,833 --> 01:48:15,250
Maybe that's what it means
to create female characters,

1521
01:48:15,375 --> 01:48:16,625
to focus on their desires.

1522
01:48:16,750 --> 01:48:20,875
If you focus on their opportunities
there isn't much to say.

1523
01:48:21,000 --> 01:48:25,583
And as soon as a film focuses
on the desires of the characters...

1524
01:48:28,208 --> 01:48:30,875
Perhaps what makes it revolutionary
is giving them all the space.

1525
01:48:32,750 --> 01:48:36,541
Suddenly, all it takes
is a body in a frame to say...

1526
01:48:37,083 --> 01:48:38,083
dangen

1527
01:48:38,208 --> 01:48:43,291
perhaps like a femme fatale in a film noir
with a cigarette holder signalling danger.

1528
01:48:43,416 --> 01:48:44,750
Very good.

1529
01:48:52,041 --> 01:48:53,041
For you.

1530
01:48:53,166 --> 01:48:58,000
There is an inevitability
about what happens next.

1531
01:48:58,125 --> 01:49:01,375
The sound has been stripped
right back.

1532
01:49:05,250 --> 01:49:08,875
We return to the impediments.

1533
01:49:09,000 --> 01:49:10,000
In a minute.

1534
01:49:10,583 --> 01:49:11,833
No, now.

1535
01:49:11,958 --> 01:49:17,458
But since we avoided the dynamic
of conflict and obstacles for so long,

1536
01:49:19,625 --> 01:49:23,250
it doesn't feel fictitious.

1537
01:49:23,375 --> 01:49:26,791
It is at once tragic,

1538
01:49:28,708 --> 01:49:31,541
political and intimate.

1539
01:49:52,833 --> 01:49:57,333
From this point on, the film was edited
to be increasingly implacable,

1540
01:49:57,458 --> 01:50:02,500
to instil a silence,
even in the dialogue.

1541
01:50:03,416 --> 01:50:05,208
I'll say goodbye here.

1542
01:50:07,333 --> 01:50:09,958
This is one of the rare moments
in the film

1543
01:50:10,083 --> 01:50:14,583
when the ends of the sequences
were cut.

1544
01:50:14,708 --> 01:50:15,958
Goodbye.

1545
01:50:18,625 --> 01:50:23,000
Some words spoken and filmed
were removed.

1546
01:50:27,041 --> 01:50:30,041
This farewell sequence
was particularly hard to shoot.

1547
01:50:30,166 --> 01:50:34,083
Itjust so happened that we'd drawn up
a rather romantic schedule

1548
01:50:34,208 --> 01:50:37,041
so this was Adéle Haenel's last shot.

1549
01:50:37,166 --> 01:50:44,708
And the blood has completely drained
from Noémie Merlant's face.

1550
01:50:44,833 --> 01:50:46,833
She is as white as a sheet.

1551
01:50:48,125 --> 01:50:49,666
Because she's emotional.

1552
01:50:51,166 --> 01:50:52,333
Have a safe journey.

1553
01:50:52,458 --> 01:50:55,416
The choreography was skilful
and complicated.

1554
01:50:57,375 --> 01:50:58,625
There's a tracking shot.

1555
01:50:59,666 --> 01:51:01,291
It stops and then starts again.

1556
01:51:02,208 --> 01:51:05,333
It was very hard to shoot because
we were working with the real constraint

1557
01:51:05,458 --> 01:51:07,416
of the actresses having to part too.

1558
01:51:09,833 --> 01:51:12,541
The challenge with farewells
is getting the pace right.

1559
01:51:12,666 --> 01:51:14,875
The footsteps on the stairs.

1560
01:51:15,958 --> 01:51:18,416
The flight and the last image.

1561
01:51:18,541 --> 01:51:20,000
Turn around.

1562
01:51:20,833 --> 01:51:21,958
In the present.

1563
01:51:23,708 --> 01:51:26,916
We hear the sound effects
from the previous ghostly apparitions

1564
01:51:27,625 --> 01:51:28,916
made real.

1565
01:51:30,666 --> 01:51:31,833
And the door closing.

1566
01:51:39,458 --> 01:51:40,916
Back in the studio.

1567
01:51:42,166 --> 01:51:46,375
For the first
of the film's three endings.

1568
01:51:51,125 --> 01:51:53,083
You've made me look so sad.

1569
01:51:58,000 --> 01:51:59,208
You were.

1570
01:52:00,541 --> 01:52:02,083
I'm not anymore.

1571
01:52:08,666 --> 01:52:11,833
This landing strip
is actually a launching pad...

1572
01:52:11,958 --> 01:52:13,541
I saw her again a first time.

1573
01:52:15,250 --> 01:52:16,666
...for a first flashback.

1574
01:52:19,625 --> 01:52:24,000
There is lots of humour
in this scene full of extras,

1575
01:52:24,125 --> 01:52:27,375
shot in the studio,
a reconstitution of the Paris salon.

1576
01:52:28,625 --> 01:52:31,916
With all these extras
it's like the film we could have made.

1577
01:52:34,291 --> 01:52:40,375
The painting behind Marianne
evokes the arch and the beach.

1578
01:52:40,500 --> 01:52:42,833
She herself is dressed
in the same colours as Orpheus

1579
01:52:42,958 --> 01:52:46,375
and Eurydice is wearing
the white dress.

1580
01:52:46,500 --> 01:52:48,083
Your father is in shape.

1581
01:52:48,208 --> 01:52:51,250
It's my painting.
I submitted it in his name.

1582
01:52:53,041 --> 01:52:54,083
A bit of mansplaining.

1583
01:52:54,208 --> 01:52:57,083
Usually, he's portrayed
before he turns

1584
01:52:57,208 --> 01:52:59,458
or after, as Eurydice dies.

1585
01:53:00,208 --> 01:53:03,041
Here, they seem
to be saying goodbye.

1586
01:53:19,625 --> 01:53:23,375
I still wonder
whether the audience really believes

1587
01:53:23,500 --> 01:53:25,958
we're about to see Hélo'l'se,
but I don't think so.

1588
01:53:26,083 --> 01:53:29,958
I think they know it's a painting.

1589
01:53:35,750 --> 01:53:38,125
This is the last shot we filmed,

1590
01:53:38,250 --> 01:53:40,750
with Noémie looking at the painting.

1591
01:53:57,125 --> 01:53:58,541
The first blow to the heart.

1592
01:54:00,833 --> 01:54:01,958
Page 28.

1593
01:54:02,750 --> 01:54:05,583
The language of the lovers
which is also the language of the film,

1594
01:54:05,708 --> 01:54:08,916
shared by the lovers in the film

1595
01:54:09,041 --> 01:54:11,583
and the audience in this sequence.

1596
01:54:11,708 --> 01:54:13,416
I saw her one last time.

1597
01:54:13,541 --> 01:54:14,666
The reason we work.

1598
01:54:17,916 --> 01:54:19,125
This last scene...

1599
01:54:21,125 --> 01:54:23,083
...was the first one to be written.

1600
01:54:23,208 --> 01:54:25,541
It's the one I made the film for.

1601
01:54:29,833 --> 01:54:31,458
Theatre, indoors, night.

1602
01:54:32,333 --> 01:54:35,541
Marianne edges her way
past members of the audience

1603
01:54:36,583 --> 01:54:38,791
on a balcony
of an Italian-style theatre.

1604
01:54:43,000 --> 01:54:46,458
She sits down
and watches the room fill up

1605
01:54:47,458 --> 01:54:50,250
amidst the hubbub of voices,
amplified by the acoustics

1606
01:54:50,375 --> 01:54:51,875
in the auditorium.

1607
01:55:03,625 --> 01:55:07,375
A familiar silhouette is making her way
along the opposite balcony.

1608
01:55:09,708 --> 01:55:13,291
Her face is revealed
and Marianne is transfixed.

1609
01:55:16,875 --> 01:55:17,958
It's Hélo'l'se.

1610
01:55:19,083 --> 01:55:21,458
She edges her way
past occupied and empty seats

1611
01:55:21,583 --> 01:55:24,375
until she reaches the end of the row,
like the edge of a precipice.

1612
01:55:25,208 --> 01:55:28,750
She sits down.
She is right next to the stage.

1613
01:55:28,875 --> 01:55:31,083
She stares straight ahead.

1614
01:55:31,208 --> 01:55:33,708
She doesn't look at the audience,
where the conversations fade,

1615
01:55:33,833 --> 01:55:36,208
one after the other,
as if by common consent.

1616
01:55:36,333 --> 01:55:37,500
She didn't see me.

1617
01:55:37,625 --> 01:55:39,166
The theatre is gripped by a silence

1618
01:55:39,291 --> 01:55:41,875
just as violins strike up
their first thundery notes.

1619
01:55:46,458 --> 01:55:48,750
Like a held breath,
pierced by a famous staccato.

1620
01:55:50,041 --> 01:55:52,750
The inaugural notes of the Presto
from Vivaldi's "Summer".

1621
01:55:54,875 --> 01:55:58,541
Heloise looks troubled on hearing
the opening bars of this longed-for piece.

1622
01:56:00,000 --> 01:56:02,708
We home in imperceptibly
on her face

1623
01:56:02,833 --> 01:56:05,166
during the three minutes
that the movement lasts.

1624
01:56:28,916 --> 01:56:31,541
Her face reflects
the dramatic composition of the music

1625
01:56:31,666 --> 01:56:33,083
as she listens to it.

1626
01:56:33,958 --> 01:56:36,416
With its massive build-up of intensity,

1627
01:56:38,208 --> 01:56:42,250
it has everything:
surprise, exaltation,

1628
01:56:42,375 --> 01:56:45,291
a beating heart, expectation,

1629
01:56:45,416 --> 01:56:48,708
melancholy, concentration,

1630
01:56:48,833 --> 01:56:50,958
flushed cheeks,

1631
01:56:51,083 --> 01:56:53,958
memories, sadness,

1632
01:56:54,083 --> 01:56:56,708
and the breath deepening.

1633
01:57:09,208 --> 01:57:11,083
All the expressions of a woman

1634
01:57:11,208 --> 01:57:14,833
that we know well
and have enjoyed looking at,

1635
01:57:15,666 --> 01:57:17,166
that we have loved.

1636
01:57:18,416 --> 01:57:22,333
We also discover things
we didn't know about her,

1637
01:57:22,458 --> 01:57:25,791
perhaps because they are new,
like the lines in the corner of her eye,

1638
01:57:26,708 --> 01:57:29,708
perhaps also because
they are things we haven't spotted

1639
01:57:29,833 --> 01:57:31,833
which remain to be understood.

1640
01:57:54,000 --> 01:57:56,000
When the piece reaches
its thrilling finale,

1641
01:57:58,416 --> 01:58:02,708
Hélo'l'se reveals the last
and most alive of all her faces.

1642
01:58:14,375 --> 01:58:18,000
I gave Adéle just one direction:
end with a gasp.