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CÉLINE SCIAMMA: The film starts with a white screen.
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And it starts in a totally literal way.
It chooses to examine the first mark.
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The first sketch, visibly feminine.
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The cinema screen as a canvas.
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This literality is like a pact
made with the audience.
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There is austerity and silence too.
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First, my contours.
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These eyes darting up and down...
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The outline.
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...are part of the journey
that this situation takes,
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the dynamic between
the painter and the model.
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The back and forth.
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Not too fast.
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I really wanted to film it.
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The film is playful from the start.
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Take time to look at me.
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Because it places the painter
in the position of the model.
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And it creates the desire
to see her.
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See how my arms are placed.
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And it instructs us
to spend time looking at her.
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My hands.
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If we obey,
we see her clenching her hand.
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And our darting eyes engage us.
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Who brought that painting out?
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Opposite her
there is a mysterious painting.
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It creates a desire to see it.
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I found it in storage.
Shouldn't l have?
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Did you paint it?
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Yes.
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The first tracking shot of the film.
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A long time ago.
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It looks simple, but we had to remove
all the furniture and all the human beings
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to show the desired image.
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What's the title?
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The title is spoken.
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Portrait of a Lady on Fire.
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Whereas it was written
to be seen.
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We jump to an action scene.
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A scene...
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...on the open sea.
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It's the sort of scene
which demands all the crew's attention
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while it is being prepared,
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checking the tide tables,
finding the right boat, the extras.
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It's a scene with danger,
it's a scene with a stunt
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with a lot of elements to film.
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On the whole, these are the scenes
you get asked about the most.
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My response to this sequence
is quite simple.
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I was thinking of Hergé, of Tintin.
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for the shot of the crate.
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And I wanted the heroine
to jump into the water,
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breaking with convention
from the start.
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She jumps in feet first
and the film jumps in feet first.
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We arrive on an island.
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Some people have said to me,
perhaps we've left an island.
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It's a very wide shot,
one of the widest in the film.
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The start of a wonderful collaboration
between Claire Mathon and nature.
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It's clearly also a nod to Jane Campion.
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The physicality of our heroine is
the first thing we're aware of, her body.
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Her costume is heavy.
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NOÉMIE MERLANT: That dress, that outfit, that costume
was the first thing I had
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to help me get into character.
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Where do I go?
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Very heavy clothes.
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Head straight up to the trees.
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With lots of layers
and underlayers
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like the film itself.
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The oppression,
the burden placed on women.
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So, it was quite a direct way
of getting into character.
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How, in spite of everything,
Marianne inhabits this costume,
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finding her freedom in it
and making it her own.
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SCIAMMA: A new dynamic begins.
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A dynamic of sequence shots
and movement.
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And especially a sound dynamic.
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There is a new face.
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I'm Marianne.
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Likeable from the start.
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Luéna Bajrami.
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Miraculously, we found
the chateau in that state.
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It brings the era to life
if you can find places
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which still contain
elements and echoes of it.
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Places you want to look at
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and also adorn.
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Here there is very little at play,
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just the reverberating footsteps.
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And the acoustics of a room
which will become key.
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80% of the film takes place
in this studio.
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It was a gamble to move into a space
and to decide to create rituals there
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and to film it differently every time.
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It was a reception room.
I've never seen it used.
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Have you been here long?
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Three years.
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We decided from the start
to have a minimal set.
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Do you like it here?
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With very few props.
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Most of the furniture was purpose-built.
That bed, for example.
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And that crate.
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I'll let you get dry.
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There isn't much ornamentation,
no worldly goods.
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We didn't change
the colour of the walls.
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We built that fireplace.
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Here the sound starts to build.
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There is the sense
that a storm is brewing.
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Something stirring in the distance.
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Recreating the sound
was quite complex too.
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We use a lot of contemporary notes.
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I really like modern notes
which are...
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All the electric sounds, let's say.
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Planes high up in the sky
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as a soundtrack
to the 18th century scene.
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There's the wind and the sea.
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And the fire.
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I wanted the character to smoke.
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We tried to instil faith
in the sequence shot
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and the tension
of the sequence shot.
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The challenge of the lighting
was the candles.
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We made a radical choice
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to have very few light sources
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and...
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...to have very few candles.
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There is the fire in the rooms.
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But the actresses
are always topped
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by a network of lights
which follows them all the time.
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They are followed
by the sound and the light.
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Sorry, l helped myself.
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I was hungry.
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Is there any wine?
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Yes.
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May I be curious?
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A horizontality is set up quite quickly
between the characters.
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The discussions are frank
and to the point.
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What is your young mistress like?
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I don't know her well.
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The film has chosen not to toy
with class hierarchies.
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You've been here three years.
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She only arrived a few weeks ago.
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This is a dynamic
which will blossom.
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Where from?
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Into a sisterhood and a friendship.
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The Benedictines.
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Has she left holy orders?
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They brought her home.
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Sophie is a servant,
but she doesn't act like one.
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Her sister died.
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She was the one due to many?
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She only appears in a scene
when she has something to add,
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a plan, a role to play.
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She's never incidental,
an accessory.
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Did disease take her?
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We see her thinking.
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Will you manage it?
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Manage what?
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To paint her.
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Why do you ask?
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Another painter was here.
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He wasn't able to.
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What happened?
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I don't know.
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Here we discover the surroundings.
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And we are between two traditions:
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Video games from the 1990s,
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Alone in the Dark,
the point-and-click,
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or more recently Escape Room.
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We discover all the objects
which will be used by the character.
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And another tradition,
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that of fantasy films.
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Playing with mirrors
and perspective.
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A desire, too, for inanimate objects.
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A tracking shot.
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Towards a canvas,
turned to face the wall.
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A choreography incorporating
the wind, breath and footsteps.
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Fear is often conveyed by sound.
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The portrait with no face,
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which acts as a link shot
which was written into the screenplay,
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considered.
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This dress without a head
which does now have feet
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but still not the right head.
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We start to create a desire
for the revelation of the face
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of this mysterious young woman.
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We used long shots for that.
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I'm afraid it's the only one.
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We used long shots,
but we know her in real life.
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We know it's Adèle Haenel
and we know her face well.
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She has no dresses yet.
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That green dress is the only
conventional dress in the film.
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It's in the style of Watteau,
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the style people choose
when they want to recreate that era,
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because it's beautiful
and very pictorial, identifiable.
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We selected coarser fabrics
for the rest of the costumes:
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cottons and linens
more everyday materials.
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Do you recognise it?
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But with strong colours.
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My father painted it.
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Here the countess
arrives on the scene.
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It was in Milan,
before my marriage.
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Played by Valeria Golino.
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I had Valeria in mind
when I wrote the screenplay.
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My daughter's suitor is Milanese.
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We'll go there
if he likes the portrait.
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You'll leave.
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I wanted it to be Italy.
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I have to tell you...
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A 50-year-old woman.
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She wore out one painter before you.
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With all that that age promises.
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In a very simple manner,
she refused to pose.
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That physique, that beauty.
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He never saw her face.
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I didn't want
a cantankerous old woman.
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She refuses this marriage.
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That would have been too brutal.
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Even though she embodies authority,
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even though it's a relief
when she disappears...
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She thinks
you're a companion for walks.
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00:16:06,570 --> 00:16:08,110
...there is a horizontal relationship.
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She's delighted.
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Since she arrived,
I don't let her out.
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They speak frankly.
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Why not?
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I wasn't wary enough
with her sister.
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She's like the big boss
of a video game.
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She thinks I'll watch over her.
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She explains the rules.
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And you observe her.
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After this scene
the audience knows what's at stake...
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More than being a companion.
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...and can give itself up
to the experience.
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The portrait arrived here
before me.
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When I first entered this room
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I found myself facing my image...
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We set up a very tight storyline
with lots of rules.
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Now we're going to experience it.
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00:17:03,580 --> 00:17:06,540
Here we see the character
deliberating over her own set.
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You see the decisions made
about the positioning of the props.
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Chests.
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Made of wood.
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Nothing ostentatious.
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The painter's studio.
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We did a lot of work on that,
a lot of research,
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both with the set decorator
and with the painter, Hélène Delmaire,
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who stood in for Marianne
and created the works.
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We stuck to what was customary,
the size of the canvas for example.
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The various stages needed
for priming the canvas.
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Here comes the rule: The curtain.
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As a boundary and for secrecy.
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All my films thus far
have been based on secrecy.
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Come in.
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Only, this is the first film
where the secret doesn't last.
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Tell me...
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It's almost a reservoir, a reserve
for what's about to be said.
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How did she die.
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We were walking by the cliffs.
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She was behind me and vanished.
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I saw her broken body below.
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- Did you see her fall?
- No.
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I think she jumped.
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Why do you think that?
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She didn't cry out.
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This is a really big moment
for the character.
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A bit less so for the audience.
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That's always annoying.
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00:19:14,090 --> 00:19:17,090
Because the audience knows
what Adèle Haenel looks like.
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00:19:18,380 --> 00:19:20,050
And it's her we think of.
264
00:19:20,180 --> 00:19:22,800
So I had to create
the frustration again
265
00:19:22,930 --> 00:19:25,770
and the desire to see this face
which we are already familiar with.
266
00:19:27,640 --> 00:19:29,770
I had to choreograph
the desire to see.
267
00:19:32,020 --> 00:19:33,810
How do you reintroduce
a face to the screen?
268
00:19:37,230 --> 00:19:38,610
First by hiding it.
269
00:19:43,240 --> 00:19:45,740
Then by gradually revealing it.
270
00:19:48,950 --> 00:19:50,040
The hair.
271
00:19:56,210 --> 00:19:59,050
By approaching it from behind.
272
00:19:59,590 --> 00:20:01,260
We might see the nape of the neck.
273
00:20:03,430 --> 00:20:05,510
And then by changing the focus.
274
00:20:05,640 --> 00:20:06,930
By adding danger.
275
00:20:10,390 --> 00:20:12,850
A distraction from the face,
a change of direction.
276
00:20:16,860 --> 00:20:18,280
And so, the face appears.
277
00:20:19,190 --> 00:20:20,320
As a surprise.
278
00:20:22,990 --> 00:20:24,700
It offers itself up.
279
00:20:24,820 --> 00:20:25,830
She turns round.
280
00:20:26,990 --> 00:20:28,540
"I've dreamt of that for years."
281
00:20:31,000 --> 00:20:32,120
Dying?
282
00:20:33,250 --> 00:20:34,290
Running.
283
00:20:43,010 --> 00:20:45,090
A Breton landscape,
the Côte Sauvage.
284
00:20:46,930 --> 00:20:48,810
It has the advantage
of not being at all built-up.
285
00:20:50,470 --> 00:20:52,640
Here we relied on nature
to recreate the era.
286
00:20:53,940 --> 00:20:55,350
Or rather to revive it.
287
00:20:58,650 --> 00:21:00,650
This scene was written
into the screenplay.
288
00:21:00,780 --> 00:21:03,990
The idea was to look at Héloïse
without seeing her.
289
00:21:05,410 --> 00:21:08,580
And then she notices
the dark look on her face.
290
00:21:09,910 --> 00:21:12,910
But we only decided on the staging
during the shoot.
291
00:21:14,540 --> 00:21:16,630
The idea was for one face
to eclipse the other.
292
00:21:17,790 --> 00:21:20,800
The choreography was done
with the two actresses there,
293
00:21:20,920 --> 00:21:22,800
on the spur of the moment.
294
00:21:22,920 --> 00:21:26,590
At the time I was thinking of Bergman.
Park Chan-wook springs to mind too.
295
00:21:42,780 --> 00:21:46,030
ADÈLE HAENEL: I constructed the character
in three phases.
296
00:21:46,160 --> 00:21:49,660
I called the first phase,
which is the one we can see now,
297
00:21:49,740 --> 00:21:52,200
the Japanese phase,
298
00:21:52,330 --> 00:21:56,960
because I had a cape so I saw myself
as an intergalactic Japanese emperor.
299
00:21:59,750 --> 00:22:03,090
Its tone, even in the light,
must yield to the cheek,
300
00:22:05,300 --> 00:22:06,680
which is more prominent.
301
00:22:09,260 --> 00:22:10,810
Did you bring a book?
302
00:22:10,930 --> 00:22:13,350
This part of the film
is about self-restraint,
303
00:22:13,430 --> 00:22:15,230
which could be frustrating
at the time.
304
00:22:15,350 --> 00:22:19,730
But it allowed us to build up
this sort of meta-emotion
305
00:22:19,860 --> 00:22:21,570
in the audience.
306
00:22:21,690 --> 00:22:23,900
So I was very careful.
307
00:22:24,030 --> 00:22:26,280
First I had to speak
in a higher voice,
308
00:22:26,400 --> 00:22:27,990
with a clear diction,
309
00:22:28,110 --> 00:22:31,660
to convey as little emotion
as possible.
310
00:22:37,080 --> 00:22:40,920
The attempt to create
this impassive, cold character
311
00:22:41,040 --> 00:22:43,920
was also a political attempt
at resistance.
312
00:22:44,050 --> 00:22:46,720
For me it was a way of saying
313
00:22:46,840 --> 00:22:51,050
that since this former nun was going
to be married against her will,
314
00:22:51,180 --> 00:22:53,060
without her opinion being sought
on her own life,
315
00:22:53,180 --> 00:22:55,060
her only resistance
was through her absence.
316
00:22:55,770 --> 00:22:58,600
Only, the truth is,
you can't really absent yourself,
317
00:22:58,730 --> 00:23:00,400
you can stop yourself from living.
318
00:23:00,520 --> 00:23:01,610
Thank you.
319
00:23:03,150 --> 00:23:04,610
It's odd you sleep here.
320
00:23:08,820 --> 00:23:11,450
She's in a hybrid state.
She's still figuring it all out.
321
00:23:20,960 --> 00:23:24,170
SCIAMMA: The dynamic of secrecy
begins here.
322
00:23:24,300 --> 00:23:26,510
These scenes appear simple,
323
00:23:26,630 --> 00:23:28,630
but they required
a huge amount of preparation.
324
00:23:31,800 --> 00:23:34,140
These sketches of Adèle's face,
for example.
325
00:23:34,260 --> 00:23:36,270
And especially the light
in all the night scenes
326
00:23:36,390 --> 00:23:40,480
which were cleverly constructed
and shot in the middle of the night,
327
00:23:40,600 --> 00:23:42,230
and you can tell.
328
00:23:42,360 --> 00:23:46,030
I love Noémie's face there,
like a child waking up at Christmas.
329
00:23:49,860 --> 00:23:53,740
The first stage is this silhouette,
this bold outline.
330
00:23:55,490 --> 00:23:57,750
Here we are focussing on the work,
331
00:23:57,910 --> 00:24:00,250
on the construction of a work,
332
00:24:00,370 --> 00:24:02,670
showing all the stages,
333
00:24:02,830 --> 00:24:04,540
and showing them in real time.
334
00:24:07,170 --> 00:24:10,630
We filmed 40 minutes
of work at a time,
335
00:24:10,760 --> 00:24:15,510
knowing we'd only keep
the real-time sequence shots,
336
00:24:15,640 --> 00:24:17,220
the actual gestures of the painter.
337
00:24:17,350 --> 00:24:19,270
There were very few cuts,
very few cheats.
338
00:24:22,020 --> 00:24:24,150
Believing in this time of working,
339
00:24:24,270 --> 00:24:28,610
believing in someone
we see thinking and searching,
340
00:24:28,730 --> 00:24:30,190
believing in this rhythm.
341
00:24:35,120 --> 00:24:36,990
This is the wash-drawing stage.
342
00:24:40,160 --> 00:24:43,290
We tried to be radical,
to bring the face to life.
343
00:24:43,420 --> 00:24:44,710
We wanted to be generous.
344
00:24:48,380 --> 00:24:49,670
That was done in real time too.
345
00:24:51,550 --> 00:24:53,680
The work of Noémie Merlant.
346
00:24:53,800 --> 00:24:56,850
She always watched
the painter paint first,
347
00:24:56,970 --> 00:25:00,810
not so that she could
copy her gestures
348
00:25:00,930 --> 00:25:03,020
but so that she could
make them her own.
349
00:25:11,360 --> 00:25:13,570
The way of looking
obviously plays a big part.
350
00:25:20,410 --> 00:25:22,160
Miss...
351
00:25:22,250 --> 00:25:23,290
Miss!
352
00:25:26,460 --> 00:25:27,460
She's waiting.
353
00:25:32,380 --> 00:25:34,880
That choreography again,
354
00:25:35,760 --> 00:25:37,510
the curtain on both sides,
355
00:25:38,350 --> 00:25:39,390
the ritual.
356
00:25:42,930 --> 00:25:46,730
And the scarf, which is a device
written into the script.
357
00:25:46,850 --> 00:25:47,860
It's windy.
358
00:25:50,900 --> 00:25:52,070
The scarf crops up here
359
00:25:52,190 --> 00:25:54,280
so that it can feature again
in an hour and ten minutes.
360
00:25:55,990 --> 00:25:57,410
That's how writing works.
361
00:26:04,370 --> 00:26:06,960
It has the advantage
of masking the face
362
00:26:07,040 --> 00:26:08,460
that she is meant to be observing.
363
00:26:11,210 --> 00:26:13,710
Sometimes hiding certain things
allows us to see others.
364
00:26:16,550 --> 00:26:18,890
There was the challenge
of this long tracking shot.
365
00:26:20,220 --> 00:26:22,220
It's a collection of looks
by Adèle Haenel.
366
00:26:35,780 --> 00:26:37,200
And the beach...
367
00:26:38,950 --> 00:26:40,780
...is portrayed
as the end of the world.
368
00:26:42,790 --> 00:26:44,910
We keep feeling as if she's come
to the end of her world.
369
00:26:46,290 --> 00:26:47,750
Tatooine comes to mind.
370
00:26:49,420 --> 00:26:51,090
Intergalactic emperors too.
371
00:27:01,220 --> 00:27:04,220
All these beach scenes were shot
during the first week of filming.
372
00:27:06,350 --> 00:27:11,230
That was when I discovered
what the two actresses were capable of.
373
00:27:13,270 --> 00:27:14,440
Especially...
374
00:27:15,440 --> 00:27:18,570
Adèle Haenel's very precise work
of transformation.
375
00:27:18,700 --> 00:27:19,740
I'd like to bathe.
376
00:27:21,910 --> 00:27:24,200
This was the first scene we shot
where she speaks,
377
00:27:24,370 --> 00:27:26,160
when I discovered her voice.
378
00:27:27,370 --> 00:27:28,620
On a calmer day.
379
00:27:29,460 --> 00:27:31,290
Yes.
380
00:27:31,380 --> 00:27:34,750
That "yes" is a perfectly timed pause.
381
00:27:34,880 --> 00:27:36,090
How long will you stay?
382
00:27:36,840 --> 00:27:37,840
Six more days.
383
00:27:37,970 --> 00:27:40,090
It shows how precise
the work we did together was.
384
00:27:41,720 --> 00:27:43,430
That "yes" always broke my heart.
385
00:27:44,890 --> 00:27:45,850
Do you swim?
386
00:27:49,770 --> 00:27:51,150
The face is revealed.
387
00:27:51,270 --> 00:27:52,520
I don't know.
388
00:27:52,650 --> 00:27:54,730
The conversation is
about them looking at one another.
389
00:27:54,900 --> 00:27:56,400
It's too dangerous if you don't.
390
00:27:58,320 --> 00:28:00,110
I meant,
I don't know if can swim.
391
00:28:06,240 --> 00:28:07,950
Sound work for the waves.
392
00:28:08,080 --> 00:28:11,250
The sea is the hardest sound to record
because it is always a contradiction.
393
00:28:11,370 --> 00:28:14,460
If the wave is big,
the sound is ill defined and noisy.
394
00:28:16,750 --> 00:28:18,960
If the wave is small,
the sound is well defined.
395
00:28:20,130 --> 00:28:23,050
So we used small waves
to produce the sound of big waves.
396
00:28:23,800 --> 00:28:28,810
The work we did editing the sound
was very precise and very powerful.
397
00:28:30,480 --> 00:28:35,400
The luminosity and the sunshine
weren't written into the screenplay.
398
00:28:35,520 --> 00:28:39,400
You don't choose Brittany in October
for the sunshine.
399
00:28:39,530 --> 00:28:42,490
But you have to learn to welcome
the light as good news.
400
00:28:48,700 --> 00:28:52,670
The director of photography and I
were happy about the luminosity.
401
00:28:52,790 --> 00:28:54,630
We decided it suited the film.
402
00:28:54,710 --> 00:28:56,750
We brought it back from Brittany and...
403
00:28:56,880 --> 00:28:57,880
How was your day?
404
00:28:58,000 --> 00:29:02,260
And then we incorporated it
into our choices about lighting
405
00:29:02,380 --> 00:29:03,380
throughout the film.
406
00:29:06,800 --> 00:29:10,730
She always stays ahead of me
and walks alone on the beach.
407
00:29:10,850 --> 00:29:13,640
Here, what's important
is that the character is drinking beer.
408
00:29:14,850 --> 00:29:16,440
Have you started painting?
409
00:29:17,770 --> 00:29:19,030
Not yet.
410
00:29:20,400 --> 00:29:22,030
I haven't even seen her smile.
411
00:29:23,950 --> 00:29:25,450
Have you tried to be funny?
412
00:29:37,750 --> 00:29:40,250
The palette was a prop
that terrified me.
413
00:29:41,340 --> 00:29:45,970
It was purpose-built,
like so many of the props in the film.
414
00:29:50,680 --> 00:29:55,520
Here she's working on the image,
on the painting.
415
00:29:55,640 --> 00:29:59,190
We decided to film it
in very high definition
416
00:29:59,320 --> 00:30:01,820
to get the effects of the materials
417
00:30:01,940 --> 00:30:03,360
to provide a lot of information.
418
00:30:05,030 --> 00:30:08,280
And then there's the sound editing,
sound effects too.
419
00:30:10,530 --> 00:30:11,540
We worked on...
420
00:30:13,250 --> 00:30:14,620
...the wetness...
421
00:30:15,620 --> 00:30:16,750
...and the touch.
422
00:30:17,710 --> 00:30:19,170
It was very precise work.
423
00:30:39,610 --> 00:30:41,190
Is it unfinished?
424
00:30:41,320 --> 00:30:44,110
This was the first real exchange
between the two characters.
425
00:30:44,240 --> 00:30:47,570
Directing it was a challenge.
426
00:30:47,700 --> 00:30:48,990
Do you think she wanted to die?
427
00:30:49,120 --> 00:30:51,740
Filming a sequence shot
by the sea.
428
00:30:53,660 --> 00:30:56,330
You're the first person
unafraid to ask that.
429
00:30:56,540 --> 00:30:57,920
It's a long scene. It was hard.
430
00:30:58,040 --> 00:30:59,750
Apart from you?
431
00:30:59,830 --> 00:31:01,710
We did lots of takes.
432
00:31:01,840 --> 00:31:03,420
Not out loud. But yes.
433
00:31:03,550 --> 00:31:08,800
We finally decided to do close-ups
on each of the two actresses.
434
00:31:08,930 --> 00:31:11,140
In her last letter, she apologised.
435
00:31:11,260 --> 00:31:12,390
For no reason.
436
00:31:14,390 --> 00:31:15,810
What could she be apologising for?
437
00:31:18,270 --> 00:31:19,900
After their respective close-ups,
438
00:31:20,020 --> 00:31:22,310
we decided to do a take
that was a sequence shot.
439
00:31:23,980 --> 00:31:25,650
You make it sound terrible.
440
00:31:25,780 --> 00:31:27,950
Just one, and it was this one.
441
00:31:31,370 --> 00:31:33,410
What do you know
of my marriage?
442
00:31:35,700 --> 00:31:38,870
You're to wed
a Milanese gentleman, that's all.
443
00:31:40,120 --> 00:31:42,170
That's all I know, too.
444
00:31:42,290 --> 00:31:44,170
You see why it worries me.
445
00:31:47,210 --> 00:31:48,880
Put that way, yes.
446
00:31:50,010 --> 00:31:51,720
I put it the way it is.
447
00:31:55,010 --> 00:31:57,480
You'd rather have stayed
in the convent?
448
00:31:57,600 --> 00:31:59,940
It's a life that has advantages.
449
00:32:00,060 --> 00:32:01,480
There's a library.
450
00:32:01,600 --> 00:32:03,980
You can sing or hear music.
451
00:32:09,070 --> 00:32:11,490
And equality is a pleasant feeling.
452
00:32:11,610 --> 00:32:15,120
"Equality is a pleasant feeling."
One of the key lines in the film.
453
00:32:15,990 --> 00:32:18,910
A line that is key to the dynamic
between them, to their relationship.
454
00:32:19,000 --> 00:32:21,370
And key to the screenplay,
because this film was an attempt
455
00:32:21,500 --> 00:32:24,040
to write a love story
based on equality.
456
00:32:24,170 --> 00:32:25,540
You draw?
457
00:32:26,500 --> 00:32:28,210
Yes. A little.
458
00:32:29,470 --> 00:32:32,720
A story about an artistic collaboration
based on equality
459
00:32:32,840 --> 00:32:36,970
and a screenplay which is not based
on a dynamic of conflict.
460
00:32:37,100 --> 00:32:39,270
What about you?
When will you marry?
461
00:32:39,390 --> 00:32:42,770
All the possible narratives in it,
all the possible emotions too.
462
00:32:42,900 --> 00:32:45,150
I don't know if I will.
463
00:32:45,270 --> 00:32:47,320
- You don't have to?
- No.
464
00:32:48,650 --> 00:32:51,450
I'll take over my father's business.
465
00:32:51,570 --> 00:32:53,950
What we were thinking in 2018
when we were making the film
466
00:32:54,070 --> 00:32:56,030
is what this character
was thinking in 1770.
467
00:32:58,740 --> 00:33:00,870
She helps us to think it today.
468
00:33:01,910 --> 00:33:05,130
You can choose.
That's why you don't understand me.
469
00:33:09,590 --> 00:33:11,090
I understand you.
470
00:33:14,260 --> 00:33:16,100
How are your days?
471
00:33:16,890 --> 00:33:19,930
We return late
and l have little light to work.
472
00:33:21,640 --> 00:33:23,850
I'll keep her here
tomorrow afternoon.
473
00:33:23,980 --> 00:33:26,480
The work we did with Valeria Golino
was very specific
474
00:33:26,610 --> 00:33:28,690
because she arrived
at the end of the shoot.
475
00:33:28,820 --> 00:33:31,110
Perhaps you could allow her
to go out alone.
476
00:33:31,240 --> 00:33:34,660
She was only there for three days
and she had all these scenes...
477
00:33:34,780 --> 00:33:36,450
She isn't sad, but angry.
478
00:33:36,570 --> 00:33:38,660
...peppered throughout the film.
479
00:33:38,780 --> 00:33:40,790
You think I don't know her anger?
480
00:33:40,910 --> 00:33:45,080
I chose Valeria
for her childlike qualities, her joy.
481
00:33:45,210 --> 00:33:46,580
Yes, I know it, too.
482
00:33:46,710 --> 00:33:48,000
Which are then taken away.
483
00:33:50,050 --> 00:33:51,260
Where did you learn Italian?
484
00:33:51,380 --> 00:33:54,260
She said she was scared
of being directed by me.
485
00:33:54,380 --> 00:33:56,090
You know Milan?
486
00:33:56,220 --> 00:33:58,550
I can't wait to go back.
487
00:33:58,680 --> 00:34:00,600
It's twenty years
since I was there.
488
00:34:00,720 --> 00:34:01,720
And I believe her.
489
00:34:01,850 --> 00:34:03,680
Tell her Milan is beautiful.
490
00:34:04,480 --> 00:34:06,310
And that life will be sweeter.
491
00:34:07,360 --> 00:34:09,320
She doesn't talk much to me.
492
00:34:10,360 --> 00:34:13,070
I'm not marrying her
to the local gentry.
493
00:34:13,570 --> 00:34:15,860
I'm trying
to take her elsewhere.
494
00:34:15,990 --> 00:34:17,240
Here comes the melancholy.
495
00:34:17,370 --> 00:34:19,240
She'll be less bored there.
496
00:34:20,160 --> 00:34:21,620
And you too.
497
00:34:21,700 --> 00:34:23,790
Indeed. Why not?
498
00:34:26,870 --> 00:34:30,420
I'll leave for the coast
at the same time as you.
499
00:34:30,540 --> 00:34:32,960
If you don't have
to return to Paris,
500
00:34:33,840 --> 00:34:36,510
l have a friend
who'd like her portrait done.
501
00:34:36,590 --> 00:34:38,760
This is the climax of the alliance
between the two.
502
00:34:38,890 --> 00:34:42,810
It's a classic storyline,
woven at the start,
503
00:34:43,930 --> 00:34:45,850
a story about complicity
and secrecy.
504
00:34:48,600 --> 00:34:50,440
She's very ugly.
505
00:34:50,560 --> 00:34:52,150
The promise of a career, perhaps.
506
00:34:54,610 --> 00:34:57,070
But the story soon departs from that.
507
00:34:58,240 --> 00:34:59,570
You've made me laugh.
508
00:34:59,700 --> 00:35:01,700
It's a red herring,
even for the characters.
509
00:35:01,830 --> 00:35:03,660
It's ages since that happened.
510
00:35:05,000 --> 00:35:06,620
I didn't do anything.
511
00:35:07,500 --> 00:35:09,130
You're here.
512
00:35:09,250 --> 00:35:11,710
It takes two to be funny.
513
00:35:16,420 --> 00:35:17,840
The face is finished.
514
00:35:22,100 --> 00:35:23,720
It's time to move onto the dress.
515
00:35:25,140 --> 00:35:28,270
And this is when the absence
of the model is starting to be felt.
516
00:35:31,940 --> 00:35:34,280
There is a theory
among art historians
517
00:35:34,400 --> 00:35:36,570
that women invented self-portraiture.
518
00:35:37,740 --> 00:35:39,820
Perhaps because
they didn't have models.
519
00:35:41,320 --> 00:35:42,950
So they had to paint themselves.
520
00:35:45,040 --> 00:35:46,950
This dress is worn
by all three characters.
521
00:35:48,790 --> 00:35:50,960
First... Marianne.
522
00:35:57,260 --> 00:35:58,300
Playing with mirrors.
523
00:35:59,930 --> 00:36:01,260
The head is cutoff.
524
00:36:03,430 --> 00:36:04,760
Marianne?
525
00:36:05,640 --> 00:36:08,600
All the elements in the shot contribute
to the dramatic composition.
526
00:36:08,730 --> 00:36:10,730
The mirror, the chair, the curtain.
527
00:36:15,690 --> 00:36:17,530
Here comes Darth Vader.
528
00:36:33,210 --> 00:36:35,420
And the image she's dreamt of,
that of the model.
529
00:36:38,920 --> 00:36:40,590
The desire for a reverse angle shot.
530
00:36:42,510 --> 00:36:44,300
It doesn't last long enough.
531
00:36:49,810 --> 00:36:50,940
Do you have tobacco?
532
00:36:52,560 --> 00:36:53,560
Yes.
533
00:36:53,690 --> 00:36:56,940
HAENEL: This scene was
in the second phase,
534
00:36:57,070 --> 00:36:59,400
the most hybrid phase: The thaw.
535
00:37:00,820 --> 00:37:05,070
SCIAMMA: The first deliberately intimate scene
between the two characters.
536
00:37:06,870 --> 00:37:08,290
And a sequence shot.
537
00:37:09,160 --> 00:37:14,380
HAENEL: The challenge here was to introduce
some cracks in the mask.
538
00:37:16,170 --> 00:37:18,250
The face starting to soften.
539
00:37:20,760 --> 00:37:23,590
Your mother will let you
go out alone tomorrow.
540
00:37:24,720 --> 00:37:26,220
You'll be free.
541
00:37:28,810 --> 00:37:30,770
Being free is being alone?
542
00:37:31,390 --> 00:37:32,600
SCIAMMA: The first scene of intimacy.
543
00:37:32,770 --> 00:37:33,770
You don't think so?
544
00:37:33,890 --> 00:37:37,150
The first time they're confronted
with how the other one thinks.
545
00:37:37,270 --> 00:37:40,610
And here Héloïse thinks like Héloïse.
546
00:37:40,740 --> 00:37:44,320
HAENEL: There's an element of self-control,
547
00:37:44,450 --> 00:37:46,910
but it's more candid
than at the start
548
00:37:47,030 --> 00:37:50,200
with a sort of emotionalism
starting to break through.
549
00:37:50,330 --> 00:37:52,710
Organ music is pretty but bleak.
550
00:37:52,790 --> 00:37:54,460
It's all I know.
551
00:37:55,420 --> 00:37:57,290
You've never heard an orchestra?
552
00:37:59,880 --> 00:38:01,340
Have you?
553
00:38:05,510 --> 00:38:07,090
Tell me about it.
554
00:38:11,850 --> 00:38:13,850
It's not easy to relate music.
555
00:38:22,900 --> 00:38:24,450
SCIAMMA: Another sequence shot.
556
00:38:31,950 --> 00:38:35,540
Noémie Merlant was enthusiastic
about learning to play the spinette,
557
00:38:35,710 --> 00:38:37,710
which is this little harpsichord,
558
00:38:37,830 --> 00:38:39,920
and she spent weeks on it.
559
00:38:40,750 --> 00:38:43,340
She does actually play it here
but under a sheet.
560
00:38:48,430 --> 00:38:50,300
A reinterpretation of Vivaldi.
561
00:38:51,640 --> 00:38:54,680
We picked
a well-known classical piece.
562
00:38:57,230 --> 00:38:58,600
For its democratic virtues.
563
00:39:00,440 --> 00:39:03,570
It's identifiable from the first notes.
564
00:39:03,690 --> 00:39:05,190
What is it?
565
00:39:05,900 --> 00:39:07,570
A piece that I love.
566
00:39:13,160 --> 00:39:14,620
Is it merry?
567
00:39:16,290 --> 00:39:18,540
Not merry, but it's lively.
568
00:39:32,560 --> 00:39:33,850
Vivaldi's "Four Seasons".
569
00:39:33,970 --> 00:39:35,930
It's about a coming storm.
570
00:39:38,020 --> 00:39:41,520
Accompanied by poems he wrote.
571
00:39:41,690 --> 00:39:43,320
The insects sense it.
572
00:39:46,860 --> 00:39:48,110
Marianne's interpretation.
573
00:39:48,280 --> 00:39:49,740
They become agitated.
574
00:39:49,820 --> 00:39:51,240
Then the storm breaks.
575
00:39:52,530 --> 00:39:53,740
Her interpretation of the poem.
576
00:39:53,870 --> 00:39:55,580
With lightning and the wind.
577
00:40:02,460 --> 00:40:05,170
The first time the fire appears
between the characters.
578
00:40:06,630 --> 00:40:08,380
I can't remember it...
579
00:40:10,380 --> 00:40:14,560
This time it's Marianne who's burning
with Héloïse watching her.
580
00:40:14,680 --> 00:40:17,220
You'll hear the rest.
Milan is a city of music.
581
00:40:17,350 --> 00:40:20,100
Maybe the one looking
makes the other one burn.
582
00:40:22,270 --> 00:40:23,770
Then I can't wait for Milan.
583
00:40:28,570 --> 00:40:31,030
I'm saying there will be good things.
584
00:40:34,780 --> 00:40:37,080
You're saying that, now and then,
585
00:40:38,330 --> 00:40:39,910
I'll be consoled.
586
00:40:52,890 --> 00:40:56,390
The guilt associated with secrecy
is at play here.
587
00:41:05,060 --> 00:41:08,480
For the first time,
the eyes darting back and forth
588
00:41:08,610 --> 00:41:10,440
between the canvas and a model,
589
00:41:11,570 --> 00:41:13,570
even though
she's still painting in secret.
590
00:41:17,660 --> 00:41:20,200
A desire to see a reverse angle shot.
591
00:41:21,210 --> 00:41:22,540
But we take our time.
592
00:41:34,260 --> 00:41:37,560
Working on the image,
recreating the colour and the material.
593
00:41:43,100 --> 00:41:46,560
And still choosing to show the work
of the painter in real time.
594
00:41:57,030 --> 00:41:59,330
The second character
in the green dress: Sophie.
595
00:42:05,250 --> 00:42:07,710
This scene is one
that we had dreamt of,
596
00:42:07,840 --> 00:42:12,550
one we felt strongly about,
597
00:42:12,670 --> 00:42:14,800
without knowing
what place it would occupy
598
00:42:14,930 --> 00:42:17,010
simply knowing it would be there.
599
00:42:17,140 --> 00:42:21,020
A sequence shot with a conjuring trick:
The retraction of her hand.
600
00:42:24,640 --> 00:42:26,060
Minutely choreographed.
601
00:42:26,190 --> 00:42:27,980
How was mass?
602
00:42:28,110 --> 00:42:30,610
Again resting on
the actresses' ideas and physicality.
603
00:42:30,730 --> 00:42:32,320
You look cheerful.
604
00:42:32,440 --> 00:42:33,820
I sang a lot.
605
00:42:35,030 --> 00:42:36,740
Are you leaving me already?
606
00:42:36,860 --> 00:42:38,200
Yes.
607
00:42:38,280 --> 00:42:40,580
Will you come out tomorrow?
608
00:42:40,700 --> 00:42:44,790
Added to the secrecy,
the admission of love.
609
00:42:44,830 --> 00:42:47,880
In solitude,
I felt the liberty you spoke of.
610
00:42:49,340 --> 00:42:51,550
A meeting of minds.
611
00:42:51,670 --> 00:42:53,710
But I also felt your absence.
612
00:43:12,270 --> 00:43:14,690
The painting is finished.
613
00:43:14,820 --> 00:43:17,740
It is not placed in the centre
of the frame like a work of art.
614
00:43:18,860 --> 00:43:21,410
It is kept in the background
and it's blurred.
615
00:43:26,080 --> 00:43:27,750
It's the work's vocation that counts.
616
00:43:28,750 --> 00:43:30,420
The portrait is finished.
617
00:43:32,710 --> 00:43:34,340
Are you happy with it?
618
00:43:36,340 --> 00:43:37,720
I think so.
619
00:43:39,720 --> 00:43:41,430
Let's go and see it.
620
00:43:42,890 --> 00:43:45,770
When a story revolves
around a secret,
621
00:43:45,890 --> 00:43:49,060
the real challenge
is the timing of the revelation.
622
00:43:49,190 --> 00:43:50,520
May I ask a favour?
623
00:43:50,650 --> 00:43:54,650
There are films which depend
on the final revelation of the truth.
624
00:43:54,780 --> 00:43:55,780
Go on.
625
00:43:55,900 --> 00:44:00,030
But here the character chooses
to reveal it, demanding to do so.
626
00:44:00,160 --> 00:44:02,070
I'd like to show her first.
627
00:44:04,040 --> 00:44:06,040
And tell her the truth myself.
628
00:44:07,330 --> 00:44:09,830
This is where it diverts
from most stories about a secret.
629
00:44:10,000 --> 00:44:11,380
I understand.
630
00:44:12,540 --> 00:44:13,790
She's very fond of you.
631
00:44:13,920 --> 00:44:18,920
There's an attempt
to resolve the conflict in a different way.
632
00:44:17,300 --> 00:44:18,920
How do you know?
633
00:44:23,180 --> 00:44:24,890
She talks about you.
634
00:44:30,560 --> 00:44:33,400
We had to include
a vague feeling of guilt.
635
00:44:36,690 --> 00:44:38,320
It was a way
of building the momentum.
636
00:44:45,990 --> 00:44:49,370
Making room
for the sound of the fire.
637
00:44:50,410 --> 00:44:53,750
It plays a very precise role
in the film.
638
00:44:55,380 --> 00:44:59,420
When is the fire part of the picture?
When is it part of the soundtrack?
639
00:44:59,550 --> 00:45:03,220
Sometimes it's visual and not audible.
Other times it's audible and not visual.
640
00:45:03,300 --> 00:45:04,970
Sometimes it doesn't figure at all.
641
00:45:07,180 --> 00:45:09,100
There was a catalogue of fires
in the film.
642
00:45:10,060 --> 00:45:13,900
It was a challenge as well as a pleasure
for the director of photography.
643
00:45:21,740 --> 00:45:23,070
At this turning point in the film,
644
00:45:23,240 --> 00:45:25,740
the conventional storyline
has a new angle.
645
00:45:27,740 --> 00:45:29,160
There is...
646
00:45:31,410 --> 00:45:32,540
...this image,
647
00:45:34,540 --> 00:45:35,880
this literal image...
648
00:45:37,460 --> 00:45:38,630
...of a heart set alight.
649
00:45:41,760 --> 00:45:43,130
There is a certain naivety.
650
00:45:50,390 --> 00:45:52,350
These are camera effects.
651
00:45:54,980 --> 00:45:56,770
There is a return
to a primitive language.
652
00:46:00,480 --> 00:46:02,860
But the primitive language
is inevitably a new language.
653
00:46:25,180 --> 00:46:26,840
I must tell you something.
654
00:46:29,310 --> 00:46:30,640
I'm a painter.
655
00:46:31,430 --> 00:46:33,140
I came here to paint you.
656
00:46:36,850 --> 00:46:38,610
I finished your portrait last night.
657
00:46:43,400 --> 00:46:45,780
The dynamic of the truth.
658
00:46:45,910 --> 00:46:47,950
Curiously, in the truth,
in the absence of lies...
659
00:46:48,070 --> 00:46:50,410
I see now why you praised
the charms of exile.
660
00:46:50,530 --> 00:46:52,120
...lies the possibility of invention.
661
00:46:52,240 --> 00:46:54,040
You felt guilty.
662
00:46:54,120 --> 00:46:57,080
Or at least of surprise,
for the story and for the audience.
663
00:47:04,380 --> 00:47:05,420
Are you leaving?
664
00:47:06,930 --> 00:47:09,350
Later today. With your mother.
665
00:47:10,890 --> 00:47:12,520
If we can say anything at all...
666
00:47:15,180 --> 00:47:16,600
...what do we say?
667
00:47:18,940 --> 00:47:21,020
Then I shall bathe today.
668
00:47:28,110 --> 00:47:30,160
Héloïse decides
to expand her world
669
00:47:30,280 --> 00:47:32,830
because her world
has come to an end.
670
00:47:35,120 --> 00:47:36,370
It's October.
671
00:47:39,420 --> 00:47:41,170
It's Brittany.
672
00:47:41,290 --> 00:47:43,500
So it's one take, just one.
673
00:48:22,040 --> 00:48:24,460
The next sequence
was filmed straight after the swim,
674
00:48:25,210 --> 00:48:27,630
so the cold is real.
675
00:48:36,220 --> 00:48:39,640
Their separation is imminent,
676
00:48:41,480 --> 00:48:43,060
but Héloïse hasn't reacted.
677
00:48:43,190 --> 00:48:44,900
Well, can you swim?
678
00:48:45,020 --> 00:48:46,070
We are waiting...
679
00:48:46,190 --> 00:48:47,440
I still don't know if can.
680
00:48:47,570 --> 00:48:48,860
...for her to show her feelings.
681
00:48:48,990 --> 00:48:50,610
Did you see me?
682
00:48:51,320 --> 00:48:52,620
You can float.
683
00:48:54,240 --> 00:48:55,910
The film makes us wait
684
00:48:56,040 --> 00:48:57,240
for the conflict,
685
00:48:58,200 --> 00:49:01,750
by not revealing everything...
686
00:49:02,210 --> 00:49:03,210
Let's go back.
687
00:49:03,330 --> 00:49:04,420
...too rapidly.
688
00:49:08,550 --> 00:49:10,590
The characters take their time to reflect.
689
00:49:13,590 --> 00:49:14,930
It explains all your looks.
690
00:49:15,010 --> 00:49:17,470
Here the love is apparent
and yet denied.
691
00:49:21,020 --> 00:49:22,190
It wasn't love.
692
00:49:31,280 --> 00:49:35,570
I remember this sequence.
It was number 30.
693
00:49:35,700 --> 00:49:39,450
If you remember the number
it's because it was a pivotal sequence.
694
00:49:39,580 --> 00:49:41,870
This is the moment
the language of the film changes.
695
00:49:42,460 --> 00:49:43,920
You're saying nothing?
696
00:49:48,630 --> 00:49:49,630
Is that me?
697
00:49:49,760 --> 00:49:52,170
Of all the possible reactions
from the character...
698
00:49:52,300 --> 00:49:53,300
Yes.
699
00:49:53,430 --> 00:49:56,180
...I think
her being critical of the work...
700
00:49:56,300 --> 00:49:57,390
Is that how you see me?
701
00:49:57,510 --> 00:49:58,890
...is the least expected.
702
00:50:01,390 --> 00:50:03,020
It's the start of...
703
00:50:03,140 --> 00:50:04,350
It's not only me.
704
00:50:04,480 --> 00:50:06,310
...a new dynamic
between the characters.
705
00:50:06,440 --> 00:50:07,820
What do you mean, not only you?
706
00:50:07,940 --> 00:50:10,820
Now that things are out in the open...
707
00:50:10,940 --> 00:50:14,320
There are rules, conventions, ideas.
708
00:50:14,450 --> 00:50:15,950
...everyone has an opinion.
709
00:50:19,160 --> 00:50:21,250
You mean there is no life?
710
00:50:21,330 --> 00:50:24,000
The dialogue is...
711
00:50:24,750 --> 00:50:27,330
Your presence is made up
of fleeting moments
712
00:50:27,460 --> 00:50:29,090
that may lack truth.
713
00:50:29,210 --> 00:50:30,210
...intellectual...
714
00:50:31,510 --> 00:50:32,840
Not everything is fleeting.
715
00:50:32,970 --> 00:50:34,050
...critical...
716
00:50:35,680 --> 00:50:37,050
Some feelings are deep.
717
00:50:39,180 --> 00:50:40,510
...full of feeling.
718
00:50:42,020 --> 00:50:44,350
The fact it isn't close to me,
719
00:50:44,810 --> 00:50:46,520
that I can understand.
720
00:50:47,190 --> 00:50:49,270
Straightaway the notion
of the eye of the beholder.
721
00:50:49,400 --> 00:50:52,650
But I find it sad
it isn't close to you.
722
00:50:53,150 --> 00:50:56,200
How do you know
it isn't close to me?
723
00:50:58,070 --> 00:51:00,490
I didn't know you were an art critic.
724
00:51:00,990 --> 00:51:03,080
I didn't know you were a painter.
725
00:51:06,290 --> 00:51:07,750
A new chapter.
726
00:51:09,460 --> 00:51:10,880
I'll fetch my mother.
727
00:51:13,920 --> 00:51:16,430
Adèle Haenel walked so stridently
that the camera shook.
728
00:51:44,120 --> 00:51:47,420
This was at the end of the shoot
on a film about two self-sufficient women
729
00:51:47,580 --> 00:51:50,500
and suddenly,
because of the order we did it in,
730
00:51:50,580 --> 00:51:55,010
authority returns to the frame
and we had to film three characters.
731
00:51:55,130 --> 00:51:58,050
It wasn't good enough.
I'll start again.
732
00:51:58,880 --> 00:52:04,310
I think all of us on set
were terror-stricken
733
00:52:04,430 --> 00:52:05,520
when the time came to do that
734
00:52:05,640 --> 00:52:09,350
because suddenly
it was the end of our idyll,
735
00:52:09,480 --> 00:52:12,230
the idyll between these two characters
and what it meant...
736
00:52:12,360 --> 00:52:13,400
She's staying.
737
00:52:13,480 --> 00:52:15,740
...to only have two characters
in the frame.
738
00:52:16,570 --> 00:52:18,360
I'll pose for her.
739
00:52:18,490 --> 00:52:21,280
Suddenly we had
to incorporate three.
740
00:52:22,870 --> 00:52:23,870
Yes.
741
00:52:23,990 --> 00:52:28,710
This is really the only decision
Héloïse takes in the film,
742
00:52:29,830 --> 00:52:32,170
the only decision about her fate,
and it's to pose.
743
00:52:33,340 --> 00:52:34,550
Why?
744
00:52:35,920 --> 00:52:38,550
The mother and daughter are...
745
00:52:38,670 --> 00:52:39,760
What does it change for you?
746
00:52:39,880 --> 00:52:42,510
...genetically quite far-removed
from one another,
747
00:52:42,640 --> 00:52:45,060
but there is the authority
of the frame and the profile.
748
00:52:45,180 --> 00:52:46,600
Nothing.
749
00:52:51,020 --> 00:52:52,650
I'll be away for five days.
750
00:52:52,770 --> 00:52:55,820
How to show
in a gesture in the present
751
00:52:55,940 --> 00:52:57,610
a past intimacy,
752
00:52:57,740 --> 00:52:59,400
an intimacy between
a mother and child.
753
00:52:59,530 --> 00:53:00,950
Understood?
754
00:53:02,950 --> 00:53:06,620
There is the idea
of the invention of this kiss...
755
00:53:06,700 --> 00:53:08,580
Say goodbye
like when you were little.
756
00:53:08,700 --> 00:53:10,960
...which is already unusual,
757
00:53:11,120 --> 00:53:13,000
but then it was played
by Adèle Haenel
758
00:53:13,130 --> 00:53:15,540
as if it was something she'd made up
on the spur of the moment.
759
00:53:18,670 --> 00:53:20,510
Perhaps for something
to belong to two people
760
00:53:20,630 --> 00:53:23,760
it must be... new.
761
00:53:30,270 --> 00:53:33,600
NOÉMIE MERLANT: I spent a lot of time
observing Hélène Delmaire
762
00:53:33,730 --> 00:53:36,980
who painted the various paintings
you see in the film
763
00:53:37,110 --> 00:53:39,650
and I spent time observing her
to try to find Marianne
764
00:53:39,820 --> 00:53:42,410
and her relationship
with her work, with painting.
765
00:53:44,200 --> 00:53:45,410
Sit down.
766
00:53:46,910 --> 00:53:51,410
In the first instance I tried to capture
her gaze, the painter's gaze,
767
00:53:51,540 --> 00:53:53,500
which is very specific,
768
00:53:53,670 --> 00:53:56,880
a mixture of concentration...
769
00:53:56,960 --> 00:53:58,130
Turn your chest towards me.
770
00:53:58,250 --> 00:54:00,840
...and magic, a gaze...
771
00:54:00,970 --> 00:54:01,970
A little more.
772
00:54:02,090 --> 00:54:06,140
...which is piercing
but also distant.
773
00:54:06,260 --> 00:54:08,180
Turn your head slightly.
774
00:54:08,310 --> 00:54:11,980
Then I tried to find my own dance.
775
00:54:12,100 --> 00:54:16,190
When I say dance,
I mean the dance of the painter.
776
00:54:17,730 --> 00:54:20,320
I worked on the gestures,
the fluidity of the gestures.
777
00:54:21,110 --> 00:54:22,740
Rest your arm here.
778
00:54:22,860 --> 00:54:27,280
The relationship and the rhythm
of the model and the painting.
779
00:54:29,370 --> 00:54:30,580
Take your hand.
780
00:54:31,910 --> 00:54:33,080
The other way.
781
00:54:34,460 --> 00:54:37,420
SCIAMMA: The film finally reveals its centrepiece,
782
00:54:37,500 --> 00:54:41,590
the thing it set out to do,
the thing that inspired it,
783
00:54:41,670 --> 00:54:45,760
the shot reverse shot
of the model and painter.
784
00:54:45,890 --> 00:54:48,260
- Are you comfortable?
- Yes.
785
00:54:48,430 --> 00:54:50,390
Can you hold this position?
786
00:54:50,510 --> 00:54:51,680
Yes.
787
00:54:54,560 --> 00:54:58,110
The film plays on the paradox
that it's the painter who says...
788
00:54:58,230 --> 00:54:59,900
Look at me.
789
00:55:01,650 --> 00:55:03,650
And here it decides
to film the desire.
790
00:55:04,900 --> 00:55:05,990
The desire.
791
00:55:06,860 --> 00:55:08,660
The materiality of desire.
792
00:55:09,700 --> 00:55:11,370
The turmoil.
793
00:55:11,450 --> 00:55:13,120
That gut-wrenching feeling.
794
00:55:15,790 --> 00:55:18,630
Using the cinema to film desire.
795
00:55:20,210 --> 00:55:21,250
Before the lovemaking.
796
00:55:43,110 --> 00:55:47,200
Seemingly a continuation of the turmoil
but actually something far more physical.
797
00:55:47,320 --> 00:55:49,820
Even though, for now,
it remains a mystery.
798
00:55:56,620 --> 00:55:58,000
The character is suffering.
799
00:56:01,250 --> 00:56:02,630
Because she has her period.
800
00:56:04,300 --> 00:56:06,630
That's something we rarely see
in the cinema.
801
00:56:14,640 --> 00:56:16,560
The heat will do you good.
802
00:56:17,270 --> 00:56:19,190
The cherrystones hold it in.
803
00:56:21,690 --> 00:56:25,650
The return of Sophie
who hasn't been seen for a while.
804
00:56:25,780 --> 00:56:28,570
She has returned
because she has a reason to return.
805
00:56:29,740 --> 00:56:31,870
Now it's her turn
to become a main character.
806
00:56:32,870 --> 00:56:34,080
Thank you.
807
00:56:39,870 --> 00:56:42,380
I usually have one ready,
808
00:56:42,540 --> 00:56:44,420
but I haven't had my monthlies.
809
00:56:48,130 --> 00:56:49,510
More than once?
810
00:56:50,300 --> 00:56:51,720
Three times.
811
00:56:55,010 --> 00:56:56,850
Is this the first time?
812
00:56:56,970 --> 00:56:58,060
Yes.
813
00:57:00,940 --> 00:57:02,270
Do you want a child?
814
00:57:04,190 --> 00:57:07,440
I was waiting for Madam to leave
to see to it.
815
00:57:09,240 --> 00:57:12,450
A new territory,
a world without Madam.
816
00:57:13,780 --> 00:57:15,280
A world with three of them in it.
817
00:57:31,510 --> 00:57:33,470
- I can't.
- A little more.
818
00:57:52,910 --> 00:57:54,240
I can't go on.
819
00:58:04,290 --> 00:58:06,130
We named this shot after Miyazaki.
820
00:58:08,920 --> 00:58:11,380
A playful shot with appearances
and disappearances.
821
00:58:13,880 --> 00:58:15,590
I don't know why
we thought of Totoro.
822
00:58:34,280 --> 00:58:37,910
They're looking for a plant
that will abort, namely rue.
823
00:58:38,910 --> 00:58:41,330
Hence the expression,
"Un enfant de la rue",
824
00:58:41,410 --> 00:58:44,040
which doesn't mean
a child brought up in the street
825
00:58:44,210 --> 00:58:47,330
but a child who survived
the plant, the rue,
826
00:58:47,460 --> 00:58:48,540
which is abortive.
827
00:58:53,420 --> 00:58:56,390
We're back in the kitchen here
for this difficult sequence
828
00:58:56,510 --> 00:58:58,180
which combines two challenges:
829
00:58:59,140 --> 00:59:01,390
The dialogue between lovers
830
00:59:01,520 --> 00:59:04,480
and a medical,
almost acrobatic, challenge.
831
00:59:04,600 --> 00:59:06,310
We made a decision...
832
00:59:06,480 --> 00:59:07,520
It's ready.
833
00:59:07,650 --> 00:59:09,980
...on set to film a sequence shot.
834
00:59:15,400 --> 00:59:20,410
I always envisaged this kitchen
as a domestic space,
835
00:59:20,530 --> 00:59:22,950
like other domestic spaces
in the cinema,
836
00:59:23,080 --> 00:59:28,710
in Chantal Akerman's Jeanne Dielman,
for example, which I like a lot.
837
00:59:29,670 --> 00:59:32,130
It was a space which gave us
the courage to film a sequence shot.
838
00:59:33,090 --> 00:59:34,420
Will it be enough?
839
00:59:34,550 --> 00:59:35,760
We'll see.
840
01:00:01,780 --> 01:00:03,410
Has it happened to you?
841
01:00:08,580 --> 01:00:09,790
Yes.
842
01:00:12,380 --> 01:00:14,090
You've known love.
843
01:00:17,430 --> 01:00:18,630
Yes.
844
01:00:20,970 --> 01:00:22,560
What is it like?
845
01:00:24,930 --> 01:00:26,890
It's hard to say.
846
01:00:28,100 --> 01:00:29,850
I mean, how does it feel?
847
01:00:56,420 --> 01:00:59,630
This, for example, was
an extremely complicated shot.
848
01:00:59,760 --> 01:01:02,430
It took four or five hours to shoot.
849
01:01:04,180 --> 01:01:06,520
A sequence shot
lasting two minutes 45 seconds,
850
01:01:08,390 --> 01:01:13,230
with multiple light sources,
851
01:01:13,360 --> 01:01:14,570
movement,
852
01:01:20,280 --> 01:01:23,450
and a tension
that comes from discretion.
853
01:01:46,060 --> 01:01:47,930
Another example
of the decision made...
854
01:01:50,350 --> 01:01:51,560
...to film at night.
855
01:01:57,230 --> 01:02:02,360
With a combination of candlelight
and natural light.
856
01:02:05,070 --> 01:02:07,450
You see all the precision
in the colours.
857
01:02:07,580 --> 01:02:08,910
The work of Claire Mathon.
858
01:02:13,870 --> 01:02:17,170
Candles are the biggest challenge
of the reconstruction.
859
01:02:19,590 --> 01:02:22,130
Are they in the frame?
Are they on candelabras?
860
01:02:22,260 --> 01:02:24,640
Are they big or small?
Are they ostentatious?
861
01:02:24,760 --> 01:02:26,850
We went for an Arte Povera style.
862
01:02:26,970 --> 01:02:30,140
Candle ends on planks of wood.
863
01:02:30,270 --> 01:02:33,690
They tie in with the sociology
that we're seeing,
864
01:02:33,850 --> 01:02:36,940
even if it's an anachronism
to talk about sociology
865
01:02:37,060 --> 01:02:39,730
in relation
to this Breton aristocracy.
866
01:02:39,860 --> 01:02:41,780
Every candle end
is worth something.
867
01:02:44,740 --> 01:02:49,120
There are flames running
through every scene in the film.
868
01:02:49,240 --> 01:02:53,960
The challenge was to never be reliant
on being able to control them.
869
01:03:05,010 --> 01:03:08,430
The clandestine behaviour continues
even though the secret is out.
870
01:03:24,320 --> 01:03:26,030
An opportune moment.
871
01:03:28,200 --> 01:03:29,410
This scene really hinges,
872
01:03:29,530 --> 01:03:32,450
after all that tension
of the sequence shot,
873
01:03:32,580 --> 01:03:34,580
on the change of pace.
874
01:03:38,000 --> 01:03:39,710
And on Adèle Haenel's languor.
875
01:03:41,670 --> 01:03:42,670
Her opening up.
876
01:03:52,770 --> 01:03:57,600
This type of sequence relies heavily
on precision on all levels,
877
01:03:57,730 --> 01:04:01,190
the precision of the drawing
and the subtlety of the actresses
878
01:04:01,940 --> 01:04:04,360
and this sound,
reinforced by sound effects.
879
01:04:14,080 --> 01:04:16,290
I can't make you smile.
880
01:04:16,370 --> 01:04:17,580
This scene...
881
01:04:17,670 --> 01:04:20,130
I feel I do it
and then it vanishes.
882
01:04:20,290 --> 01:04:23,130
It's as if it had already taken place
before we shot it.
883
01:04:24,340 --> 01:04:26,590
Anger always comes to the fore.
884
01:04:26,720 --> 01:04:28,680
Definitely with you.
885
01:04:28,800 --> 01:04:30,930
First, because it's a pivotal scene,
886
01:04:31,050 --> 01:04:33,140
it's the scene that epitomises...
887
01:04:33,260 --> 01:04:34,310
I didn't mean to hurt you.
888
01:04:34,430 --> 01:04:35,980
...the shot reverse shot dynamic.
889
01:04:36,100 --> 01:04:37,560
You haven't hurt me.
890
01:04:37,690 --> 01:04:39,100
I have, I can tell.
891
01:04:39,230 --> 01:04:41,940
When you're moved,
you do this with your hand.
892
01:04:42,060 --> 01:04:45,070
What power does the beholder have?
Who is looking at whom?
893
01:04:45,190 --> 01:04:49,360
And it's also the scene
we used for the auditions.
894
01:04:49,490 --> 01:04:50,780
And when you're embarrassed...
895
01:04:50,910 --> 01:04:52,070
For the role of Marianne,
896
01:04:52,200 --> 01:04:54,620
because Adèle Haenel
897
01:04:54,700 --> 01:04:56,580
was already on board.
898
01:04:57,960 --> 01:05:01,710
When we did the auditions,
I played the model
899
01:05:01,830 --> 01:05:05,130
and the actresses
played the painter,
900
01:05:05,250 --> 01:05:07,800
which was somewhat carnivalesque.
901
01:05:07,920 --> 01:05:09,760
Forgive me,
I'd hate to be in your place.
902
01:05:09,840 --> 01:05:12,430
It's very hard to shoot scenes
you've used in casting sessions.
903
01:05:12,550 --> 01:05:14,060
We're in the same place.
904
01:05:15,100 --> 01:05:16,470
Exactly the same place.
905
01:05:16,600 --> 01:05:18,480
This scene is all about the editing.
906
01:05:18,600 --> 01:05:19,600
Come here.
907
01:05:19,770 --> 01:05:24,570
It's about how you leave your shot
to enter the reverse shot,
908
01:05:24,690 --> 01:05:31,160
the other person's shot,
which is defined by our viewpoint.
909
01:05:32,450 --> 01:05:33,950
Step closer.
910
01:05:40,500 --> 01:05:41,960
Look.
911
01:05:42,120 --> 01:05:44,670
To start with, this scene...
912
01:05:44,840 --> 01:05:48,010
If you look at me,
who do I look at?
913
01:05:48,130 --> 01:05:51,880
...showing a shift of power,
or an understanding that it's shared,
914
01:05:52,010 --> 01:05:55,260
was the scene of the first kiss.
915
01:05:55,390 --> 01:05:56,890
It seemed obvious.
916
01:06:01,020 --> 01:06:03,900
When you lose control,
you raise your eyebrows.
917
01:06:11,360 --> 01:06:12,860
And when you're troubled,
918
01:06:14,160 --> 01:06:15,700
you breathe through your mouth.
919
01:06:16,830 --> 01:06:19,250
Before I had her saying,
"You knew I was in turmoil."
920
01:06:19,370 --> 01:06:20,370
And she replied, "Yes."
921
01:06:21,790 --> 01:06:23,120
And they kissed.
922
01:06:28,300 --> 01:06:30,720
But we decided to take it further.
923
01:06:35,590 --> 01:06:38,560
This is the only time
we have Marianne framed like this,
924
01:06:38,680 --> 01:06:42,180
observed, in her fragile state,
by the model.
925
01:06:50,860 --> 01:06:53,950
The only improvised scene
in the film.
926
01:06:54,070 --> 01:06:59,040
A card game,
an 18th-century form of Spit.
927
01:06:59,160 --> 01:07:01,660
It's an extremely authoritative set-up.
928
01:07:01,790 --> 01:07:04,000
There is this panoramic shot
linking the three characters
929
01:07:04,080 --> 01:07:05,710
which sets the atmosphere
930
01:07:05,790 --> 01:07:10,210
and then one shot per character,
with them playing the game for real.
931
01:07:10,710 --> 01:07:13,090
- I didn't touch!
- I win.
932
01:07:13,220 --> 01:07:14,220
I win.
933
01:07:14,340 --> 01:07:15,970
These are tricky scenes,
934
01:07:16,090 --> 01:07:19,470
especially for the director,
because they are joyful to shoot.
935
01:07:19,640 --> 01:07:21,890
You feel as if you've got
lots of material
936
01:07:22,020 --> 01:07:24,480
and, as I found when filming with kids,
a lot of charm,
937
01:07:24,600 --> 01:07:26,150
but actually you need
to be clear-headed
938
01:07:26,270 --> 01:07:27,860
to make sure you get
the material you need.
939
01:07:27,980 --> 01:07:31,030
- You're cheating.
- I'm not cheating, I play fast.
940
01:07:31,730 --> 01:07:33,610
The first shot
is of Adèle Haenel
941
01:07:33,740 --> 01:07:35,820
and it reveals something of her,
942
01:07:35,950 --> 01:07:37,950
something about her childhood.
943
01:07:38,070 --> 01:07:41,160
- Two. Two sixes.
- Oh, no!
944
01:07:41,290 --> 01:07:45,460
We see her spontaneity
which flirts with the severing of ties
945
01:07:45,580 --> 01:07:49,090
but retains
a rare form of innocence.
946
01:07:49,250 --> 01:07:50,750
Your turn.
947
01:07:51,420 --> 01:07:54,130
The key shot in this sort of scene
is usually the last take,
948
01:07:54,260 --> 01:07:55,340
which is of Noémie Merlant.
949
01:07:55,470 --> 01:07:57,640
And I gave her a lot of directions
950
01:07:57,760 --> 01:07:59,680
because I saw
what the other actresses had given.
951
01:08:04,810 --> 01:08:06,810
CLAIRE MATHON: Céline wanted it
to be a film of faces.
952
01:08:06,940 --> 01:08:09,940
She wanted to film her actresses
and their faces.
953
01:08:10,020 --> 01:08:13,360
With the picture I tried not to show
the direction or colour of the light.
954
01:08:13,480 --> 01:08:14,530
Uncover your throat.
955
01:08:14,650 --> 01:08:17,490
I worked on getting
a satin-smooth texture,
956
01:08:17,610 --> 01:08:19,700
on incorporating a softness.
957
01:08:21,030 --> 01:08:24,080
Technically, that was created
through a mixture of filters
958
01:08:24,200 --> 01:08:27,750
and the choice of the quality
and direction of the light,
959
01:08:27,830 --> 01:08:29,500
plus a collaboration with make-up.
960
01:08:29,580 --> 01:08:31,250
You have my future husband in mind.
961
01:08:32,170 --> 01:08:35,510
What was beautiful was being able
to sense the slightest trembling,
962
01:08:35,630 --> 01:08:38,510
the slightest emotion,
without the light upstaging the actresses.
963
01:08:39,590 --> 01:08:42,720
Keeping the flesh tones,
964
01:08:42,850 --> 01:08:45,100
as if the light emanated
from their faces.
965
01:08:45,220 --> 01:08:46,560
Why not men?
966
01:08:48,850 --> 01:08:50,690
I'm not allowed to.
967
01:08:50,810 --> 01:08:52,020
Why not?
968
01:08:52,900 --> 01:08:55,360
The film was shot
in a natural setting,
969
01:08:55,480 --> 01:09:00,160
but the light was mostly artificial.
970
01:09:00,280 --> 01:09:04,740
It was important to control the light
and choose how much to reveal.
971
01:09:06,580 --> 01:09:09,420
I also take inspiration
from accidental natural light effects,
972
01:09:09,580 --> 01:09:12,380
from the richness
of its reflections and flashes.
973
01:09:12,540 --> 01:09:14,210
That's why I use
a mixture of light sources
974
01:09:14,340 --> 01:09:16,460
and work with successive layers
975
01:09:16,590 --> 01:09:19,510
which the light shines through,
creating reflections and diffusions.
976
01:09:20,430 --> 01:09:21,470
It's tolerated.
977
01:09:21,550 --> 01:09:24,930
Finding a balance between real life
and the timelessness of the portrait,
978
01:09:25,060 --> 01:09:29,060
being in the era whilst retaining
the precision of a contemporary portrait.
979
01:09:29,190 --> 01:09:30,310
...to amuse them?
980
01:09:32,060 --> 01:09:34,230
- Are you bored?
- No.
981
01:09:34,360 --> 01:09:36,110
I'm interested in you.
982
01:09:36,230 --> 01:09:40,910
We were looking for clean lines,
especially in the sets, the backgrounds.
983
01:09:41,030 --> 01:09:43,530
Your complexion is remarkable today.
984
01:09:45,080 --> 01:09:48,910
Céline's direction is very precise,
very choreographed,
985
01:09:49,000 --> 01:09:52,880
which allowed for a picture
986
01:09:53,880 --> 01:09:56,710
that was precise, subtle
and carefully chosen.
987
01:09:56,840 --> 01:09:58,510
You pose beautifully.
988
01:10:04,260 --> 01:10:05,810
You're pretty.
989
01:10:13,850 --> 01:10:15,650
That's what I tell them.
990
01:10:19,650 --> 01:10:22,360
SCIAMMA: This autumn bouquet.
991
01:10:23,320 --> 01:10:25,030
A still life
that is very much alive here
992
01:10:25,160 --> 01:10:28,160
but will be a bit less alive
later on in the film.
993
01:10:29,700 --> 01:10:30,710
And embroidery.
994
01:10:30,790 --> 01:10:33,920
It was very important for me
that embroidery should figure in the film,
995
01:10:34,000 --> 01:10:38,550
a typically feminine art
which was then relegated to a craft
996
01:10:38,670 --> 01:10:42,260
to play down the importance
of the talent and contribution of women
997
01:10:42,380 --> 01:10:44,970
in the arts that they were allowed
to partake of.
998
01:10:56,770 --> 01:11:01,360
And this shot which is an attempt
to embody the experience of sisterhood,
999
01:11:01,490 --> 01:11:02,700
in other words,
1000
01:11:04,360 --> 01:11:06,870
a reversal of social roles
1001
01:11:09,950 --> 01:11:12,830
and the sense of well-being
that flows from that.
1002
01:11:25,130 --> 01:11:28,760
"Then, striking the lyre
to accompany his words, he sang... "
1003
01:11:28,890 --> 01:11:32,770
This sequence was
a very late addition to the screenplay
1004
01:11:32,890 --> 01:11:34,690
It was almost...
1005
01:11:34,810 --> 01:11:40,110
The dynamic of Orpheus and Eurydice
in the film was the last thing I wrote.
1006
01:11:40,230 --> 01:11:42,940
poisoned her
and robbed her of her youth... "
1007
01:11:43,070 --> 01:11:49,740
I wanted a scene based on a story
to show the complicity between them,
1008
01:11:49,910 --> 01:11:52,240
a real Netflix-and-chill scene
1009
01:11:52,370 --> 01:11:56,330
with a story with a very strong climax,
generating something to discuss,
1010
01:11:56,500 --> 01:12:02,090
because I wanted to see them
exchanging and putting forward theories
1011
01:12:02,210 --> 01:12:04,800
about fiction
and the issues it raises.
1012
01:12:05,720 --> 01:12:08,430
"'If the fates refuse my wife this favour,
1013
01:12:08,550 --> 01:12:11,260
'I am determined not to return."
1014
01:12:11,390 --> 01:12:17,190
This also introduces a feminist
reinterpretation of the myths.
1015
01:12:17,310 --> 01:12:23,280
The myth about Orpheus and Eurydice
has been reinterpreted
1016
01:12:23,400 --> 01:12:26,200
by numerous feminists,
notably Monique Wittig,
1017
01:12:26,320 --> 01:12:31,870
because it is the myth which grants
the male gaze the power to kill,
1018
01:12:31,990 --> 01:12:35,500
or to limit and condition.
1019
01:12:36,410 --> 01:12:38,040
"They sent for Eurydice.
1020
01:12:38,120 --> 01:12:41,290
She was there,
among the recent spirits,
1021
01:12:41,420 --> 01:12:42,630
and approached, limping... "
1022
01:12:42,750 --> 01:12:47,260
This brings the myth up to date,
first in the act of reading and listening,
1023
01:12:48,180 --> 01:12:50,180
and then in the analysis.
1024
01:12:50,300 --> 01:12:51,680
"...or the favour would be void. "
1025
01:12:51,800 --> 01:12:54,430
But there was an innocence
about my including this myth.
1026
01:12:54,600 --> 01:12:57,940
I had no idea
how far-reaching it would be in the story.
1027
01:12:58,060 --> 01:13:03,320
In the end it provided a link
between the two main threads
1028
01:13:03,440 --> 01:13:06,780
which are the current experience of love
and the memory of that love.
1029
01:13:06,900 --> 01:13:10,200
The apparitions
of Héloïse as a ghost
1030
01:13:10,320 --> 01:13:12,530
are the future imprint
1031
01:13:13,580 --> 01:13:16,120
or the imprint already made
1032
01:13:16,950 --> 01:13:18,870
by this myth
of Orpheus and Eurydice.
1033
01:13:18,960 --> 01:13:21,920
"She reached out for his embrace
and wished to hold him.
1034
01:13:22,080 --> 01:13:25,210
Her poor hands
clutched only the empty air.
1035
01:13:26,050 --> 01:13:27,880
Dying a second time,
1036
01:13:28,050 --> 01:13:29,260
she did not complain. "
1037
01:13:29,380 --> 01:13:31,590
Dying twice is a woman's destiny.
1038
01:13:33,180 --> 01:13:34,220
That's horrible.
1039
01:13:35,060 --> 01:13:37,020
Poor woman.
Why did he turn?
1040
01:13:37,140 --> 01:13:39,600
He was told not to but did,
for no reason.
1041
01:13:39,770 --> 01:13:41,150
There are reasons.
1042
01:13:41,270 --> 01:13:43,520
You think so? Read it again.
1043
01:13:43,650 --> 01:13:46,110
The joy of filming women
who think and debate.
1044
01:13:47,610 --> 01:13:52,320
But also the joy of validity,
of the importance of all the theories.
1045
01:13:52,450 --> 01:13:55,120
No one is right and no one is wrong.
1046
01:13:55,240 --> 01:13:58,250
No, he can't look at her
for fear of losing her.
1047
01:13:58,750 --> 01:14:01,920
That's no reason.
He was told not to do that.
1048
01:14:02,080 --> 01:14:05,250
He's madly in love. He can't resist.
1049
01:14:05,380 --> 01:14:07,000
I think Sophie has a point.
1050
01:14:07,550 --> 01:14:10,340
He could resist.
His reasons aren't serious.
1051
01:14:10,470 --> 01:14:12,220
Perhaps he makes a choice.
1052
01:14:12,340 --> 01:14:13,930
Marianne's theory is like her.
1053
01:14:14,050 --> 01:14:18,100
He chooses the memory of her.
That's why he turns.
1054
01:14:21,100 --> 01:14:23,900
He doesn't make the lover's choice,
but the poet's.
1055
01:14:25,060 --> 01:14:30,990
The poet's choice,
and the debate is taken further.
1056
01:14:31,110 --> 01:14:33,780
"She spoke a last farewell
1057
01:14:33,910 --> 01:14:36,530
that scarcely reached his ears
1058
01:14:36,660 --> 01:14:38,990
and fell back into the abyss. "
1059
01:14:47,380 --> 01:14:49,460
Perhaps she was the one who said,
1060
01:14:50,460 --> 01:14:51,590
"Turn around. "
1061
01:14:51,720 --> 01:14:54,140
The myth
from Eurydice's point of view.
1062
01:14:54,260 --> 01:14:56,180
Love as admiration,
1063
01:14:58,140 --> 01:15:00,850
being impressed by someone.
1064
01:15:03,730 --> 01:15:07,150
MATHON: It was important
to get a sense of the environment,
1065
01:15:07,270 --> 01:15:09,610
to link the scene by the fireside
with the moors.
1066
01:15:09,730 --> 01:15:13,320
It's a more nocturnal sensation,
the notion of silhouettes.
1067
01:15:15,110 --> 01:15:18,080
This was obviously
a key scene in the film,
1068
01:15:18,200 --> 01:15:19,790
one of the formative scenes.
1069
01:15:22,250 --> 01:15:24,170
I didn't want to be too realistic,
1070
01:15:24,290 --> 01:15:26,710
too constrained by the flames.
1071
01:15:26,790 --> 01:15:30,050
This whole sequence
takes place around the fire,
1072
01:15:30,170 --> 01:15:31,590
but you see very little of it.
1073
01:15:32,550 --> 01:15:34,930
We set it up at the start.
1074
01:15:35,050 --> 01:15:38,300
Then we retain this image for the shot
of the portrait of the lady on fire.
1075
01:15:44,060 --> 01:15:47,650
I wanted the backgrounds
to convey a sense of the vegetation
1076
01:15:48,480 --> 01:15:52,690
by giving depth to the image
with its hazy light.
1077
01:15:57,530 --> 01:16:02,240
That allowed me to be less monochrome
and to keep the colours subtle.
1078
01:16:02,370 --> 01:16:04,120
It was very important to me
to keep the warmth
1079
01:16:04,250 --> 01:16:07,040
without losing the tones
of the skin and the costumes.
1080
01:16:12,340 --> 01:16:16,340
The light came from a combination
of artificial sources and the fire.
1081
01:16:17,390 --> 01:16:21,850
The fire was often replaced by gas lights
to temper the flames.
1082
01:16:21,970 --> 01:16:25,480
She says I'm still pregnant
and to come back in two days.
1083
01:16:26,350 --> 01:16:27,770
I'll come with you.
1084
01:16:29,360 --> 01:16:34,570
The artificial lights allowed me to choose
the direction of the light on the faces
1085
01:16:34,690 --> 01:16:38,070
and to retain a softness,
because a flame is a harsh light.
1086
01:16:39,120 --> 01:16:42,790
Also to limit the variation in the light,
the flickering of the flames,
1087
01:16:43,290 --> 01:16:46,540
which was too much,
1088
01:16:46,620 --> 01:16:49,500
vying for attention
with the facial expressions.
1089
01:16:54,670 --> 01:16:56,550
SCIAMMA: The first musical scene in the film,
1090
01:16:58,010 --> 01:16:59,760
a piece composed for the film,
1091
01:16:59,890 --> 01:17:01,970
its anthem or perhaps
an anthem for something else.
1092
01:17:03,720 --> 01:17:07,100
I asked for something
polyphonic, polyrhythmic,
1093
01:17:07,230 --> 01:17:09,730
with a high number of beats per minute
to evoke a trance.
1094
01:17:10,770 --> 01:17:13,650
The scene starts
with a sort of normality,
1095
01:17:13,770 --> 01:17:16,990
the idea of women
meeting round a fire
1096
01:17:17,110 --> 01:17:19,360
to drink and chat.
1097
01:17:19,490 --> 01:17:22,580
This was about friendship. Maybe
friends is what so-called witches were.
1098
01:17:23,530 --> 01:17:26,250
And then their song,
which fires up the imagination.
1099
01:17:27,120 --> 01:17:28,620
We had the tools of filmmaking.
1100
01:17:29,170 --> 01:17:33,090
We started
with a really realistic sound.
1101
01:17:33,170 --> 01:17:37,630
These women were singing on set.
1102
01:17:38,670 --> 01:17:43,600
But we soon mixed in bigger sounds
than the sounds on set.
1103
01:17:44,930 --> 01:17:46,470
And we weren't afraid to go for it.
1104
01:17:53,980 --> 01:17:56,780
This group scene
is also a love scene.
1105
01:17:57,860 --> 01:17:59,150
These women singing
1106
01:17:59,280 --> 01:18:03,200
accompanies
the first exchange of smiles
1107
01:18:03,280 --> 01:18:07,040
between the two main characters
one hour and ten minutes into the film.
1108
01:18:14,420 --> 01:18:15,880
The words are in Latin.
1109
01:18:16,000 --> 01:18:19,510
It's a rough translation of a line
by Nietzsche which says:
1110
01:18:19,630 --> 01:18:23,220
"The higher we soar, the smaller
we appear to those who cannot fly."
1111
01:18:28,640 --> 01:18:31,850
The desired image,
the eponymous image.
1112
01:18:32,650 --> 01:18:35,940
Literally setting the character on fire.
1113
01:18:37,780 --> 01:18:39,150
MATHON: I remember the moment I realised
1114
01:18:39,990 --> 01:18:42,410
the extent to which a painting
is not a photograph of an instant
1115
01:18:42,530 --> 01:18:45,570
but a much freer interpretation
1116
01:18:45,700 --> 01:18:47,280
despite its realism.
1117
01:18:49,370 --> 01:18:52,040
SCIAMMA: The link shot of the extended hand
1118
01:18:53,960 --> 01:18:55,920
towards another space-time
1119
01:18:56,040 --> 01:18:57,550
was written into the screenplay.
1120
01:18:59,340 --> 01:19:00,840
It's a leap.
1121
01:19:00,970 --> 01:19:03,800
Overall in the film
we did a lot of work on scenes
1122
01:19:03,930 --> 01:19:06,760
which started as one thing
and became something else.
1123
01:19:06,890 --> 01:19:10,810
And for this scene of the first kiss
the opposite was true.
1124
01:19:10,930 --> 01:19:13,940
We go from one scene to the next
with a radical ellipsis.
1125
01:19:18,440 --> 01:19:19,900
This scene of the first kiss,
1126
01:19:22,820 --> 01:19:25,360
a lot of thought went into it.
1127
01:19:26,240 --> 01:19:29,040
How do you film a first kiss?
1128
01:19:29,160 --> 01:19:31,330
What is a first kiss?
1129
01:19:33,790 --> 01:19:36,580
What will we remember
1130
01:19:38,000 --> 01:19:39,920
about what leads to the kiss?
1131
01:19:40,050 --> 01:19:42,380
And it's that choreography
we are thinking of.
1132
01:19:43,670 --> 01:19:48,550
The long tracking shot of the rocks
and then this link shot of her walking.
1133
01:19:48,680 --> 01:19:52,390
And these scarves
which were intended for this scene.
1134
01:19:52,520 --> 01:19:55,440
Because we wanted
to show their faces afresh
1135
01:19:55,560 --> 01:19:58,360
and to work
on the eroticism of consent
1136
01:19:59,980 --> 01:20:02,230
with the idea
that they would uncover their mouths
1137
01:20:07,110 --> 01:20:11,660
and the fabric dancing on their lips
would show their heavy breathing.
1138
01:20:16,290 --> 01:20:17,790
The cave, the sound work.
1139
01:20:19,790 --> 01:20:22,840
Their hearts beating,
the tide coming in.
1140
01:20:25,170 --> 01:20:27,220
Their hearts in their stomachs.
1141
01:20:34,890 --> 01:20:39,730
From that moment on,
the pace of the film changes.
1142
01:20:39,860 --> 01:20:43,730
Another new chapter:
The inevitable happens.
1143
01:20:45,570 --> 01:20:48,410
From now on time passes differently.
1144
01:20:58,420 --> 01:21:03,880
With the help of sequence shots
we create new pulsations.
1145
01:21:06,420 --> 01:21:09,220
The same grammar,
different rules.
1146
01:21:39,420 --> 01:21:41,170
It's coq au vin.
1147
01:21:45,210 --> 01:21:47,090
What about Héloïse?
1148
01:21:47,210 --> 01:21:49,880
She isn't well.
She doesn't want dinner.
1149
01:21:58,810 --> 01:22:01,520
Here the fantasy dimension
reasserts itself,
1150
01:22:01,650 --> 01:22:04,270
and you sense that from the sound.
1151
01:22:05,860 --> 01:22:07,650
The sound is spatialised.
1152
01:22:15,990 --> 01:22:18,580
It also conveys
reverberations, the breath.
1153
01:22:26,920 --> 01:22:29,800
This apparition of Héloïse
was a camera effect.
1154
01:22:32,800 --> 01:22:35,550
The beauty of camera effects
in filmmaking
1155
01:22:35,680 --> 01:22:38,140
is that they are tried and tested,
1156
01:22:38,270 --> 01:22:40,560
but you always feel
as if you are inventing something new,
1157
01:22:40,690 --> 01:22:43,600
because you have to invent something,
to construct something,
1158
01:22:43,730 --> 01:22:45,690
to create this image of the past.
1159
01:22:49,740 --> 01:22:51,780
It requires a lot of faith.
1160
01:22:51,900 --> 01:22:53,240
It's very religious.
1161
01:22:56,080 --> 01:22:57,410
And here...
1162
01:22:59,370 --> 01:23:02,250
...the only shot to quote another film.
1163
01:23:09,000 --> 01:23:13,340
This shot, which is a nod
to Persona by Bergman,
1164
01:23:13,470 --> 01:23:17,100
especially through the next link shot.
1165
01:23:30,400 --> 01:23:32,360
It's a quotation
and yet you always think...
1166
01:23:33,900 --> 01:23:36,370
...when you love someone
that you're inventing something new.
1167
01:23:42,910 --> 01:23:45,330
I thought you had been scared off.
1168
01:23:47,710 --> 01:23:49,170
You were right.
1169
01:23:50,380 --> 01:23:51,590
I'm scared.
1170
01:24:10,480 --> 01:24:13,820
Do all lovers feel
they're inventing something?
1171
01:24:18,870 --> 01:24:20,660
I know the gestures.
1172
01:24:22,750 --> 01:24:24,960
I imagined it all, waiting for you.
1173
01:24:25,830 --> 01:24:27,750
You dreamt of me?
1174
01:24:31,300 --> 01:24:32,800
I thought of you.
1175
01:25:04,410 --> 01:25:05,660
Sophie.
1176
01:25:07,790 --> 01:25:11,790
A bit more of an expectation
that she will behave as a servant.
1177
01:25:11,920 --> 01:25:14,590
She knocks on the door.
What goes on behind closed doors?
1178
01:25:14,670 --> 01:25:16,590
But that's not the issue for her.
1179
01:25:16,720 --> 01:25:18,130
I'm coming.
1180
01:25:18,260 --> 01:25:20,890
The issue is whether or not
they're going to accompany her.
1181
01:25:23,140 --> 01:25:24,100
Get up.
1182
01:25:24,220 --> 01:25:27,020
The intimacy of the morning after
rather than the night before.
1183
01:25:30,860 --> 01:25:32,650
Marianne has her hands
in her pockets.
1184
01:25:32,770 --> 01:25:34,690
It's an important detail.
1185
01:25:34,860 --> 01:25:39,200
I was obsessed,
when we were creating the costumes,
1186
01:25:39,320 --> 01:25:41,240
with the character having pockets.
1187
01:25:41,370 --> 01:25:43,330
Noémie Merlant had
a whole file on pockets.
1188
01:25:43,450 --> 01:25:45,950
She knew when she was meant
to put her hands in her pockets.
1189
01:25:48,210 --> 01:25:51,380
The shape seems modern,
but it's not anachronistic.
1190
01:25:51,540 --> 01:25:52,960
Women had pockets
in those days.
1191
01:25:53,090 --> 01:25:55,550
They removed them in the 19th century,
like so many other things.
1192
01:26:00,010 --> 01:26:03,100
The scene of the abortion
was very tricky to film.
1193
01:26:03,220 --> 01:26:05,470
We shot it at the end
of the first week.
1194
01:26:05,600 --> 01:26:09,270
We only visited the location once.
It was a sort of museum.
1195
01:26:11,100 --> 01:26:13,190
Those sorts of sets aren't ideal.
1196
01:26:14,730 --> 01:26:18,240
There are extras, characters
who only appear once.
1197
01:26:18,360 --> 01:26:20,650
That's Christel Baras,
the casting director.
1198
01:26:23,320 --> 01:26:24,740
She's a great actress.
1199
01:26:25,740 --> 01:26:29,460
And the biggest challenge
in this scene
1200
01:26:30,160 --> 01:26:31,580
was the child.
1201
01:26:32,630 --> 01:26:33,710
A young child.
1202
01:26:35,340 --> 01:26:39,670
And the scene revolves
around the child.
1203
01:26:41,760 --> 01:26:42,760
Lie down.
1204
01:26:42,890 --> 01:26:45,350
When you get ready to shoot
a scene like this,
1205
01:26:45,470 --> 01:26:48,850
you feel very alone,
because there are no pointers,
1206
01:26:48,970 --> 01:26:50,520
there are very few instances of it.
1207
01:26:50,640 --> 01:26:52,900
There are no precedents
in the history of filmmaking.
1208
01:26:54,520 --> 01:26:58,730
And I took little pleasure
in being a pioneer.
1209
01:26:58,860 --> 01:27:02,150
Calling people pioneers
is just a way of rewarding those
1210
01:27:03,240 --> 01:27:05,700
who feel as if they're doing
something for the first time.
1211
01:27:05,830 --> 01:27:06,830
Deep breaths.
1212
01:27:06,950 --> 01:27:08,160
But it's not enough.
1213
01:27:09,580 --> 01:27:11,290
It's not enough to be landed
with the scene.
1214
01:27:11,410 --> 01:27:14,040
You need to love it,
there needs to be a desire for it,
1215
01:27:14,210 --> 01:27:17,250
something unique to the film,
and what's unique here is the child.
1216
01:27:20,590 --> 01:27:23,260
Filming with a child requires
1217
01:27:23,930 --> 01:27:26,010
maximum comfort for the child
1218
01:27:26,140 --> 01:27:28,140
which means minimum comfort for you.
1219
01:27:32,180 --> 01:27:33,690
And you have to...
1220
01:27:35,100 --> 01:27:38,400
...have faith in a very long take.
1221
01:27:38,520 --> 01:27:42,530
You link the shots.
I was sitting just beside them.
1222
01:27:42,650 --> 01:27:46,030
I was right beside Luàna Bajrami,
the actress.
1223
01:27:46,620 --> 01:27:48,030
I talked her through it.
1224
01:27:49,540 --> 01:27:53,660
And it was a question
of when to start and when to finish,
1225
01:27:53,790 --> 01:27:56,710
making sure the child was OK
and trusting her.
1226
01:27:58,420 --> 01:28:00,670
The child was meant
to put his hand on her chest.
1227
01:28:00,800 --> 01:28:03,050
That was in the screenplay.
1228
01:28:04,300 --> 01:28:05,760
Instead he wiped away her tears.
1229
01:28:10,810 --> 01:28:12,930
Those weren't miracles,
they were decisions.
1230
01:28:14,940 --> 01:28:16,600
Go to bed.
1231
01:28:18,190 --> 01:28:19,650
I'll watch over her.
1232
01:28:21,820 --> 01:28:23,610
I don't want to go to bed.
1233
01:28:24,360 --> 01:28:26,990
This was a link shot
that I knew to be disturbing.
1234
01:28:27,110 --> 01:28:28,490
Sophie?
1235
01:28:29,450 --> 01:28:30,910
Are you asleep?
1236
01:28:34,250 --> 01:28:38,830
Because, straight after that scene
depicting the abortion,
1237
01:28:40,290 --> 01:28:47,050
we enter a new dynamic
and the abortion is re-enacted.
1238
01:28:48,220 --> 01:28:50,550
It was very important to me,
1239
01:28:50,680 --> 01:28:55,850
even if it has a double-trigger effect,
or rather a double-tension one.
1240
01:28:58,480 --> 01:29:00,860
It was important
to show both the abortion
1241
01:29:00,980 --> 01:29:04,320
and the importance
of showing it.
1242
01:29:04,440 --> 01:29:06,400
Because that's what happened.
1243
01:29:06,530 --> 01:29:09,030
That's what happened
1244
01:29:09,160 --> 01:29:11,700
when women were denied
the opportunity to be artists.
1245
01:29:13,790 --> 01:29:16,580
Get your things.
We're going to paint.
1246
01:29:16,660 --> 01:29:19,380
They didn't paint their private lives.
1247
01:29:20,790 --> 01:29:24,420
They didn't paint their desires,
they didn't paint their bodies.
1248
01:29:24,590 --> 01:29:26,050
They didn't paint their lives
1249
01:29:26,970 --> 01:29:31,350
And all these images are missing
from art history but also from our lives.
1250
01:29:32,140 --> 01:29:35,060
It was Annie Ernaux who said
that in no museum in the world
1251
01:29:35,180 --> 01:29:37,810
is there a painting called
"The Backstreet Abortionist".
1252
01:29:41,810 --> 01:29:45,150
So this scene comes
a bit too quickly, perhaps, but...
1253
01:29:47,570 --> 01:29:49,110
...it's so we don't forget.
1254
01:29:49,240 --> 01:29:50,240
Look at her.
1255
01:29:50,360 --> 01:29:52,740
It's so we don't forget
that art creates memory.
1256
01:29:52,910 --> 01:29:54,370
Arch your back a little.
1257
01:29:57,790 --> 01:30:00,830
And I also wanted
to show the pleasure...
1258
01:30:00,920 --> 01:30:02,130
Straighten your head.
1259
01:30:02,210 --> 01:30:04,090
...of showing,
1260
01:30:04,170 --> 01:30:07,260
which we see on Marianne's face.
1261
01:30:07,380 --> 01:30:11,800
And also to show
the model's impulse,
1262
01:30:11,930 --> 01:30:13,260
her intelligence.
1263
01:30:13,430 --> 01:30:15,930
She tells us what to look at.
1264
01:30:16,060 --> 01:30:18,560
She had the idea of painting it.
1265
01:30:18,680 --> 01:30:22,440
Women's only chance
to be in artists' studios
1266
01:30:22,560 --> 01:30:25,780
was as models,
and they seized that opportunity.
1267
01:30:25,900 --> 01:30:27,530
That's how they created
works of art.
1268
01:30:35,370 --> 01:30:36,620
This is my favourite painting.
1269
01:30:39,500 --> 01:30:40,920
It was never finished.
1270
01:31:02,440 --> 01:31:04,360
Another painting about desire.
1271
01:31:05,480 --> 01:31:07,070
Sending out signals.
1272
01:31:07,190 --> 01:31:11,070
Conveying desire in the film
rested on their shoulders.
1273
01:31:12,700 --> 01:31:14,160
Sending signals and receiving them.
1274
01:31:14,280 --> 01:31:15,740
What you're doing.
1275
01:31:19,700 --> 01:31:23,250
MERLANT: Adèle and I didn't work
on our relationship before filming.
1276
01:31:23,290 --> 01:31:24,290
Be serious.
1277
01:31:24,460 --> 01:31:26,750
We didn't prepare the scenes.
1278
01:31:26,920 --> 01:31:28,380
On the contrary, it was created
1279
01:31:29,420 --> 01:31:33,720
in an environment
of collaboration and benevolence.
1280
01:31:33,840 --> 01:31:35,850
From the start, a horizontal look,
1281
01:31:35,970 --> 01:31:38,640
and it's that horizontal look
that the film is about,
1282
01:31:38,760 --> 01:31:40,890
the way collaborators
look at one another.
1283
01:31:41,020 --> 01:31:45,270
That vision that Céline shares
in her way of working
1284
01:31:45,400 --> 01:31:48,690
helped us to form this relationship.
1285
01:31:50,230 --> 01:31:52,190
Adèle and I formed a relationship,
1286
01:31:52,320 --> 01:31:54,860
getting to know one another
as the shoot went on.
1287
01:31:54,990 --> 01:31:56,570
We observed one another.
1288
01:31:56,700 --> 01:32:01,370
We used that to create the relationship
between Héloïse and Marianne.
1289
01:32:10,550 --> 01:32:14,090
SCIAMMA: A show of intimacy, of nudity.
1290
01:32:15,380 --> 01:32:16,550
And sexuality.
1291
01:32:19,890 --> 01:32:21,850
I bought it from a woman at the feast.
1292
01:32:22,850 --> 01:32:27,100
It's a plant.
She said it makes you fly.
1293
01:32:27,230 --> 01:32:32,110
HAENEL: Generally in films,
shooting sex scenes is stressful
1294
01:32:32,230 --> 01:32:34,110
because there's no idea.
1295
01:32:35,450 --> 01:32:40,910
So, as an actor, you find yourself
having to simulate coitus in a wide shot
1296
01:32:41,040 --> 01:32:45,210
and you feel extremely vulnerable
because your body is on display,
1297
01:32:45,330 --> 01:32:46,540
which is very intimate,
1298
01:32:48,080 --> 01:32:49,500
and you're not given any direction.
1299
01:32:49,670 --> 01:32:53,800
What's great about this film
is that there is eroticism,
1300
01:32:56,970 --> 01:32:58,970
but it is sheltered by an idea.
1301
01:33:03,810 --> 01:33:07,850
For me the idea of penetrating
the armpits added a sort of humour
1302
01:33:07,980 --> 01:33:09,610
which is often lacking in sex scenes.
1303
01:33:09,730 --> 01:33:13,440
Generally sex scenes reflect
the way they are done,
1304
01:33:13,570 --> 01:33:16,030
they reflect a moment on set.
1305
01:33:18,660 --> 01:33:21,200
This moment on set was joyful.
1306
01:33:23,790 --> 01:33:27,620
And I was very happy
to be able to take part
1307
01:33:27,750 --> 01:33:30,580
in a sort of demonstration
1308
01:33:30,750 --> 01:33:32,920
that eroticism is linked
to the intellect.
1309
01:33:40,970 --> 01:33:42,390
Your eyes.
1310
01:33:54,030 --> 01:33:56,990
SCIAMMA: The second scene
with the ghostly apparition.
1311
01:33:58,780 --> 01:34:01,570
A good rule for a screenplay
is a rule of three.
1312
01:34:01,700 --> 01:34:06,830
And it plants the idea
that Marianne is tempted by an image
1313
01:34:06,950 --> 01:34:09,420
which seems to be in the future.
1314
01:34:09,540 --> 01:34:14,210
To my mind love affairs
are always haunted by their ending.
1315
01:34:33,810 --> 01:34:35,520
You have to drink.
1316
01:34:43,030 --> 01:34:45,790
This was an attempt
to democratise this motif.
1317
01:35:25,370 --> 01:35:28,990
This was one of the scenes
we did the most takes for.
1318
01:35:32,790 --> 01:35:38,050
It's the film's main scene for dialogue
and possibly for conflict too.
1319
01:35:38,170 --> 01:35:40,880
But it's not orchestrated
as a scene of conflict.
1320
01:35:41,010 --> 01:35:44,470
It's not orchestrated
as arguments and negotiations.
1321
01:35:45,390 --> 01:35:51,730
The power struggle between the two
is a discourse.
1322
01:35:52,560 --> 01:35:58,400
And that's the real pleasure,
the challenge of the film,
1323
01:35:58,480 --> 01:36:00,860
to show characters
who are in a dialogue with one another.
1324
01:36:02,070 --> 01:36:06,370
They listen to one another
and bounce ideas off one another.
1325
01:36:08,620 --> 01:36:10,580
You didn't destroy the last one for me.
1326
01:36:10,700 --> 01:36:13,500
There was a basic desire to create
a sense of the present tense...
1327
01:36:13,580 --> 01:36:14,670
You did it for you.
1328
01:36:14,790 --> 01:36:16,750
...through something written,
1329
01:36:16,920 --> 01:36:19,710
and people know it's written
1330
01:36:19,880 --> 01:36:22,720
because the dialogue is literary.
1331
01:36:22,840 --> 01:36:24,930
But there's a pleasure
in creating a present
1332
01:36:25,050 --> 01:36:27,390
because the characters' thinking
is in the present
1333
01:36:27,510 --> 01:36:31,180
and enacted by the actresses
in the present.
1334
01:36:33,350 --> 01:36:34,640
Through it, I give you to another.
1335
01:36:34,770 --> 01:36:36,400
It was one of the pleasures...
1336
01:36:39,440 --> 01:36:41,980
...of these scenes with dialogue
1337
01:36:42,110 --> 01:36:44,530
which have the vocation
of conveying the spoken word.
1338
01:36:49,660 --> 01:36:54,500
HAENEL: This scene didn't necessarily go
to where we imagined it would.
1339
01:36:54,620 --> 01:36:56,500
Now you possess me a little,
you bear me a grudge.
1340
01:36:56,580 --> 01:36:59,960
MERLANT: Yes, I expressed a lot of anger
in the first takes.
1341
01:37:00,040 --> 01:37:02,920
Then it was your turn.
1342
01:37:03,090 --> 01:37:07,680
HAENEL: I was more expressive to start with,
then the idea was to rein in the emotion
1343
01:37:07,800 --> 01:37:13,680
and to make it less explosive
and more horizontal.
1344
01:37:13,810 --> 01:37:15,310
I did my takes
1345
01:37:15,430 --> 01:37:17,730
and we ended up
with what's in the film,
1346
01:37:17,850 --> 01:37:19,810
something much more controlled,
1347
01:37:19,940 --> 01:37:23,190
and as a result
you asked to do another take.
1348
01:37:24,110 --> 01:37:26,990
MERLANT: I asked to redo a take...
1349
01:37:28,160 --> 01:37:32,080
...where everything
was more reined in and contained.
1350
01:37:32,200 --> 01:37:34,200
- HAENEL: And still.
- MERLANT: Yes, still,
1351
01:37:34,330 --> 01:37:36,790
compared to the first take
which was much more...
1352
01:37:36,910 --> 01:37:39,000
- HAENEL: ...agitated.
- MERLANT: Agitated, yes.
1353
01:37:42,550 --> 01:37:43,750
That's it then.
1354
01:37:45,130 --> 01:37:46,470
You find me docile.
1355
01:37:47,510 --> 01:37:48,590
Worse...
1356
01:37:50,180 --> 01:37:51,890
You imagine I'm collusive.
1357
01:37:54,140 --> 01:37:55,520
You imagine my pleasure.
1358
01:37:56,310 --> 01:37:57,770
It's a way of avoiding hope.
1359
01:37:57,890 --> 01:38:01,810
HAENEL: There was the sense that
if we overdid it, the information got lost.
1360
01:38:01,940 --> 01:38:03,650
...happy or unhappy...
1361
01:38:03,770 --> 01:38:08,490
The idea for us as actors
is to unfold the emotions,
1362
01:38:08,610 --> 01:38:10,990
to give them a rhythm.
1363
01:38:11,120 --> 01:38:13,080
You'd prefer me to resist.
1364
01:38:15,040 --> 01:38:16,580
SCIAMMA: Here you've got ambiguity.
1365
01:38:17,960 --> 01:38:19,210
Yes, she'd prefer her to resist.
1366
01:38:19,370 --> 01:38:20,920
Are you asking me to?
1367
01:38:24,920 --> 01:38:25,920
Answer me.
1368
01:38:28,550 --> 01:38:31,510
"No, I'm not asking you to"
or, "No, I'm not answering"?
1369
01:38:42,020 --> 01:38:44,020
The still life
with a bit less life in it now.
1370
01:38:53,070 --> 01:38:54,490
A vanitas.
1371
01:38:57,950 --> 01:38:59,580
The rapid footsteps
1372
01:38:59,710 --> 01:39:01,620
which, as so often in the film,
1373
01:39:01,750 --> 01:39:02,960
herald an announcement.
1374
01:39:03,000 --> 01:39:04,920
Have you seen Héloïse?
1375
01:39:05,000 --> 01:39:07,420
No. She isn't in her room.
1376
01:39:10,970 --> 01:39:12,550
We've had news.
1377
01:39:14,680 --> 01:39:16,890
Madam returns tomorrow.
1378
01:39:17,010 --> 01:39:18,770
Very well.
1379
01:39:18,890 --> 01:39:20,350
Will you be ready?
1380
01:39:22,730 --> 01:39:24,310
Yes.
1381
01:39:33,240 --> 01:39:35,120
It's been a while
since we were outside.
1382
01:39:37,160 --> 01:39:40,200
This scene was filmed
on the third day of shooting.
1383
01:39:40,330 --> 01:39:44,290
It was the first big scene
of intimacy that we shot.
1384
01:39:44,460 --> 01:39:46,670
We spent a lot of time
getting the level of emotion right.
1385
01:39:49,130 --> 01:39:51,550
This was one of the last takes.
1386
01:39:51,670 --> 01:39:55,340
For ages when we were editing the film
I found the first take to be
1387
01:39:56,350 --> 01:39:58,810
good, satisfactory, moving.
1388
01:39:58,930 --> 01:40:03,690
It was a take
where the emotion was less buried.
1389
01:40:05,310 --> 01:40:09,860
And in the end we chose this one
1390
01:40:09,940 --> 01:40:12,650
which was more bathed in tears
1391
01:40:13,700 --> 01:40:15,280
Your mother returns tomorrow.
1392
01:40:15,410 --> 01:40:18,080
More devastating,
for Marianne in particular.
1393
01:40:19,950 --> 01:40:24,170
She's the character
who lays bare her emotions
1394
01:40:24,290 --> 01:40:25,500
in the film.
1395
01:40:28,290 --> 01:40:30,000
This was the eighth take.
1396
01:40:33,170 --> 01:40:35,470
There is exhaustion, tension, abandon.
1397
01:40:37,680 --> 01:40:39,350
And Noémie Merlant's tears.
1398
01:40:44,190 --> 01:40:45,810
We kept it long.
1399
01:41:01,700 --> 01:41:06,620
Now, after that last outpouring
1400
01:41:06,790 --> 01:41:08,750
with the waves, the ocean,
1401
01:41:08,830 --> 01:41:12,090
the sound is really spare.
1402
01:41:12,210 --> 01:41:15,550
There's no such thing as silence
in the cinema. Something always fills it.
1403
01:41:17,260 --> 01:41:22,770
Obviously, the sound here is spatialised
so there is more than one thing filling it,
1404
01:41:22,890 --> 01:41:25,980
maybe five things at any one time.
1405
01:41:26,100 --> 01:41:28,440
It takes a lot of reflection
to create silence.
1406
01:41:28,560 --> 01:41:31,650
What is the silence made of?
What note? What wind?
1407
01:41:33,280 --> 01:41:36,070
Do you want it to be felt?
Do you want it to be ignored?
1408
01:41:38,700 --> 01:41:40,990
Here we are just left
with the voices
1409
01:41:41,120 --> 01:41:43,490
and the bodies.
1410
01:41:43,620 --> 01:41:47,870
Silence is also about making room
for the bodies,
1411
01:41:48,000 --> 01:41:51,670
for the sound of the bodies
of the characters and the actors,
1412
01:41:51,790 --> 01:41:54,510
the direct sound of their breath.
1413
01:41:54,590 --> 01:41:58,760
And this silence relies
on being able to listen.
1414
01:41:58,880 --> 01:42:02,260
We always think of the sensations,
of the sensory experience
1415
01:42:02,390 --> 01:42:05,180
the film gives the audience.
1416
01:42:05,310 --> 01:42:08,890
This silence makes them
listen to their own breath.
1417
01:42:09,020 --> 01:42:13,770
They are sharing the space
with their neighbours' bodies
1418
01:42:13,900 --> 01:42:16,570
and the emotions can be heard.
1419
01:42:24,450 --> 01:42:28,210
And the listening experience
you create with a void
1420
01:42:28,370 --> 01:42:32,790
makes the audience focus
and pay attention
1421
01:42:32,920 --> 01:42:35,550
to their own emotion.
1422
01:42:45,810 --> 01:42:46,890
Finished.
1423
01:42:52,400 --> 01:42:54,270
The portrait is done,
but the story carries on.
1424
01:42:56,940 --> 01:42:58,240
With another portrait.
1425
01:42:58,360 --> 01:42:59,360
Who is that for?
1426
01:42:59,860 --> 01:43:02,450
Here the idea was
to show the miniatures.
1427
01:43:02,570 --> 01:43:06,870
Miniatures were often painted
by women
1428
01:43:06,990 --> 01:43:10,500
and that's partly why
so many of them are lost.
1429
01:43:10,660 --> 01:43:14,840
Miniatures are lost
in private collections.
1430
01:43:16,630 --> 01:43:20,420
These great little works
are not in our archives.
1431
01:43:20,550 --> 01:43:22,050
After a while,
1432
01:43:23,340 --> 01:43:27,060
you'll see her
when you think of me.
1433
01:43:27,180 --> 01:43:30,310
There is something very contemporary
about this scene.
1434
01:43:30,430 --> 01:43:32,520
They have their hair down.
1435
01:43:32,650 --> 01:43:33,850
I'll have no image of you.
1436
01:43:33,980 --> 01:43:38,610
There are no costumes,
just the shoulders of naked bodies.
1437
01:43:38,730 --> 01:43:39,900
Do you want an image of me?
1438
01:43:40,070 --> 01:43:43,160
And we no longer know
which era this is.
1439
01:43:45,490 --> 01:43:48,700
HAENEL: The point where I say 28...
1440
01:43:48,830 --> 01:43:50,160
That one.
1441
01:43:50,290 --> 01:43:52,670
There was going to be
a justification for it.
1442
01:43:52,790 --> 01:43:54,500
Why 28?
Because it's my age.
1443
01:43:54,630 --> 01:43:58,300
But we cut it,
and taking that decision on set meant
1444
01:43:58,420 --> 01:44:03,510
a new mystery was created because,
without the explanation, when I said...
1445
01:44:03,630 --> 01:44:04,760
Twenty-eight.
1446
01:44:04,890 --> 01:44:08,930
When I said 28, I thought,
I'm going to create a treasure.
1447
01:44:09,060 --> 01:44:14,150
No one else will know what it means,
but it's meaningful to her at that moment.
1448
01:44:19,280 --> 01:44:21,740
SCIAMMA: The story really lends itself
to these scenes.
1449
01:44:21,860 --> 01:44:26,450
They are so charged
that they become almost dreamlike.
1450
01:44:28,530 --> 01:44:29,990
One or two takes.
1451
01:44:31,200 --> 01:44:35,540
There's the idea of the mirror
in which the painter's face is reflected.
1452
01:44:35,710 --> 01:44:37,960
That was also a nod to...
1453
01:44:40,340 --> 01:44:41,590
...Francesca Woodman,
1454
01:44:43,300 --> 01:44:44,760
the photographer from New York.
1455
01:44:50,510 --> 01:44:55,770
This scene wasn't in the screenplay.
1456
01:44:55,900 --> 01:45:01,400
I wrote it specifically
for the last round of auditions
1457
01:45:01,530 --> 01:45:03,780
when we chose Noémie Merlant.
1458
01:45:05,990 --> 01:45:10,410
I had decided to write a scene
specifically for the auditions,
1459
01:45:11,540 --> 01:45:17,580
a scene that would allow me
to evaluate the degree of intimacy,
1460
01:45:17,710 --> 01:45:22,590
the melodrama, the emotion,
a scene with everything in it.
1461
01:45:23,670 --> 01:45:27,050
A farewell scene
before the farewells.
1462
01:45:28,050 --> 01:45:30,680
This scene was a determining factor,
practically a revelation,
1463
01:45:31,720 --> 01:45:33,770
in the choice of Noémie Merlant.
1464
01:45:37,440 --> 01:45:41,230
I filmed this scene
I had written an hour previously.
1465
01:45:41,400 --> 01:45:42,730
Remember.
1466
01:45:42,860 --> 01:45:46,200
It was moving and the scene worked.
1467
01:45:46,320 --> 01:45:50,070
In particular it worked between them,
there was a real chemistry,
1468
01:45:50,200 --> 01:45:53,200
a real closeness,
a real friendship...
1469
01:45:53,370 --> 01:45:55,370
I'll remember when you fell asleep
in the kitchen.
1470
01:45:55,500 --> 01:45:58,420
It was very seductive
without any seducing.
1471
01:45:59,630 --> 01:46:01,040
I'll remember...
1472
01:46:03,300 --> 01:46:04,760
your dark stare when I beat you at cards.
1473
01:46:04,880 --> 01:46:07,220
The electricity between them
was so strong
1474
01:46:07,340 --> 01:46:11,470
that, as I filmed the scene,
my heart was pounding
1475
01:46:11,600 --> 01:46:12,970
and I thought, "That's it."
1476
01:46:13,970 --> 01:46:17,850
I saw a real equality.
1477
01:46:18,940 --> 01:46:20,980
You took your time being funny.
1478
01:46:21,730 --> 01:46:22,940
That's true.
1479
01:46:23,730 --> 01:46:24,940
I wasted time.
1480
01:46:25,070 --> 01:46:26,690
Between the two lovers.
1481
01:46:26,820 --> 01:46:28,530
I wasted time, too.
1482
01:46:28,650 --> 01:46:30,530
It was something new
1483
01:46:31,700 --> 01:46:34,620
and it was something
we had created together.
1484
01:46:34,740 --> 01:46:38,370
l'll remember the first time
I wanted to kiss you.
1485
01:46:41,710 --> 01:46:42,630
When was that?
1486
01:46:42,790 --> 01:46:48,170
It's a top shot
so we had all the machinery in place
1487
01:46:48,300 --> 01:46:50,470
in the background.
1488
01:46:50,590 --> 01:46:52,340
At the gathering around the bonfire.
1489
01:46:52,470 --> 01:46:54,640
To show the point of view
of God, almost...
1490
01:46:54,720 --> 01:46:55,720
I wanted to, yes.
1491
01:46:55,850 --> 01:46:57,100
...of this intimate exchange.
1492
01:46:57,220 --> 01:46:59,350
But that wasn't the first time.
1493
01:46:59,480 --> 01:47:02,230
My heart was beating so fast
during these takes.
1494
01:47:02,360 --> 01:47:03,560
Tell me.
1495
01:47:05,110 --> 01:47:06,690
No, you tell me.
1496
01:47:06,820 --> 01:47:10,780
We only shot four takes
for this scene.
1497
01:47:13,320 --> 01:47:15,950
We worked on the lighting...
1498
01:47:16,080 --> 01:47:17,580
When you asked
if had known love.
1499
01:47:17,700 --> 01:47:22,630
...on the way their hair is lit.
1500
01:47:22,710 --> 01:47:24,920
I could tell the answer was yes.
1501
01:47:25,880 --> 01:47:27,630
And that it was now.
1502
01:47:27,760 --> 01:47:29,510
It looks timeless.
1503
01:47:33,300 --> 01:47:34,800
I remember.
1504
01:47:42,980 --> 01:47:46,480
I gave a lot of thought to this shot.
It may not look like much.
1505
01:47:46,650 --> 01:47:50,700
With scenes like that, you arrive on set
and no one knows how it will turn out.
1506
01:47:50,820 --> 01:47:52,150
You just know
you have to shoot it.
1507
01:47:53,780 --> 01:47:56,490
And you spend time together,
arranging the hair.
1508
01:48:03,960 --> 01:48:08,250
This sequence shot
has a very particular rhythm.
1509
01:48:10,510 --> 01:48:12,630
A man enters the frame.
1510
01:48:12,760 --> 01:48:13,930
Good morning.
1511
01:48:14,050 --> 01:48:15,180
Good morning.
1512
01:48:17,890 --> 01:48:20,810
A good morning is enough
to remind us
1513
01:48:22,020 --> 01:48:24,150
of all the people
whose story we haven't told.
1514
01:48:25,020 --> 01:48:26,520
It just takes a man's body...
1515
01:48:27,980 --> 01:48:29,730
...to tell the story we haven't told.
1516
01:48:30,940 --> 01:48:32,740
They're here.
1517
01:48:32,860 --> 01:48:35,950
The film chose to tell the story
of a possible love affair.
1518
01:48:37,280 --> 01:48:42,290
In other words,
what it put in the centre of the frame
1519
01:48:42,410 --> 01:48:44,580
was what was possible,
what was bearable.
1520
01:48:44,750 --> 01:48:47,170
Maybe that's what it means
to create female characters,
1521
01:48:47,250 --> 01:48:48,500
to focus on their desires.
1522
01:48:48,670 --> 01:48:52,760
If you focus on their opportunities
there isn't much to say.
1523
01:48:52,880 --> 01:48:57,470
And as soon as a film focuses
on the desires of the characters...
1524
01:49:00,100 --> 01:49:02,770
Perhaps what makes it revolutionary
is giving them all the space.
1525
01:49:04,640 --> 01:49:08,440
Suddenly, all it takes
is a body in a frame to say...
1526
01:49:09,020 --> 01:49:10,020
danger.
1527
01:49:10,150 --> 01:49:15,240
Perhaps like a femme fatale in a film noir
with a cigarette holder signalling danger.
1528
01:49:15,360 --> 01:49:16,740
Very good.
1529
01:49:24,000 --> 01:49:25,040
For you.
1530
01:49:25,120 --> 01:49:29,960
There is an inevitability
about what happens next.
1531
01:49:30,040 --> 01:49:33,340
The sound has been stripped
right back.
1532
01:49:37,180 --> 01:49:40,810
We return to the impediments.
1533
01:49:40,930 --> 01:49:41,930
In a minute.
1534
01:49:42,520 --> 01:49:43,770
No, now.
1535
01:49:43,890 --> 01:49:49,400
But since we avoided the dynamic
of conflict and obstacles for so long,
1536
01:49:51,650 --> 01:49:55,240
it doesn't feel fictitious.
1537
01:49:55,360 --> 01:49:58,780
It is at once tragic,
1538
01:50:00,700 --> 01:50:03,540
political and intimate.
1539
01:50:24,850 --> 01:50:29,310
From this point on, the film was edited
to be increasingly implacable,
1540
01:50:29,440 --> 01:50:34,530
to instil a silence,
even in the dialogue.
1541
01:50:35,440 --> 01:50:37,240
I'll say goodbye here.
1542
01:50:39,360 --> 01:50:41,990
This is one of the rare moments
in the film
1543
01:50:42,120 --> 01:50:46,620
when the ends of the sequences
were cut.
1544
01:50:46,750 --> 01:50:48,040
Goodbye.
1545
01:50:50,670 --> 01:50:55,050
Some words spoken and filmed
were removed.
1546
01:50:59,050 --> 01:51:02,050
This farewell sequence
was particularly hard to shoot.
1547
01:51:02,180 --> 01:51:06,100
It just so happened that we'd drawn up
a rather romantic schedule
1548
01:51:06,220 --> 01:51:09,060
so this was Adèle Haenel's last shot.
1549
01:51:09,190 --> 01:51:16,780
And the blood has completely drained
from Noémie Merlant's face.
1550
01:51:16,900 --> 01:51:18,900
She is as white as a sheet.
1551
01:51:20,200 --> 01:51:21,740
Because she's emotional.
1552
01:51:23,240 --> 01:51:24,410
Have a safe journey.
1553
01:51:24,530 --> 01:51:27,500
The choreography was skilful
and complicated.
1554
01:51:29,460 --> 01:51:30,710
There's a tracking shot.
1555
01:51:31,750 --> 01:51:33,380
It stops and then starts again.
1556
01:51:34,250 --> 01:51:37,380
It was very hard to shoot because
we were working with the real constraint
1557
01:51:37,510 --> 01:51:39,470
of the actresses having to part too.
1558
01:51:41,880 --> 01:51:44,600
The challenge with farewells
is getting the pace right.
1559
01:51:44,720 --> 01:51:46,930
The footsteps on the stairs.
1560
01:51:48,020 --> 01:51:50,480
The flight and the last image.
1561
01:51:50,600 --> 01:51:52,060
Turn around.
1562
01:51:52,900 --> 01:51:54,020
In the present.
1563
01:51:55,820 --> 01:51:59,030
We hear the sound effects
from the previous ghostly apparitions
1564
01:51:59,740 --> 01:52:01,030
made real.
1565
01:52:02,780 --> 01:52:03,950
And the door closing.
1566
01:52:11,580 --> 01:52:13,040
Back in the studio.
1567
01:52:14,250 --> 01:52:18,460
For the first
of the film's three endings.
1568
01:52:23,260 --> 01:52:25,180
You've made me look so sad.
1569
01:52:30,100 --> 01:52:31,310
You were.
1570
01:52:32,640 --> 01:52:34,190
I'm not anymore.
1571
01:52:40,820 --> 01:52:43,990
This landing strip
is actually a launching pad...
1572
01:52:44,110 --> 01:52:45,700
I saw her again a first time.
1573
01:52:47,410 --> 01:52:48,830
...for a first flashback.
1574
01:52:51,790 --> 01:52:56,170
There is lots of humour
in this scene full of extras,
1575
01:52:56,290 --> 01:52:59,500
shot in the studio,
a reconstitution of the Paris salon.
1576
01:53:00,760 --> 01:53:04,050
With all these extras
it's like the film we could have made.
1577
01:53:06,470 --> 01:53:12,520
The painting behind Marianne
evokes the arch and the beach.
1578
01:53:12,640 --> 01:53:15,020
She herself is dressed
in the same colours as Orpheus
1579
01:53:15,100 --> 01:53:18,520
and Eurydice is wearing
the white dress.
1580
01:53:18,650 --> 01:53:20,270
Your father is in shape.
1581
01:53:20,400 --> 01:53:23,440
It's my painting.
I submitted it in his name.
1582
01:53:25,240 --> 01:53:26,280
A bit of mansplaining.
1583
01:53:26,410 --> 01:53:29,280
Usually, he's portrayed
before he turns
1584
01:53:29,410 --> 01:53:31,660
or after, as Eurydice dies.
1585
01:53:32,410 --> 01:53:35,250
Here, they seem
to be saying goodbye.
1586
01:53:51,810 --> 01:53:55,560
I still wonder
whether the audience really believes
1587
01:53:55,690 --> 01:53:58,150
we're about to see Héloïse,
but I don't think so.
1588
01:53:58,270 --> 01:54:02,190
I think they know it's a painting.
1589
01:54:07,990 --> 01:54:10,370
This is the last shot we filmed,
1590
01:54:10,490 --> 01:54:12,990
with Noémie looking at the painting.
1591
01:54:29,340 --> 01:54:30,760
The first blow to the heart.
1592
01:54:33,060 --> 01:54:34,180
Page 28.
1593
01:54:34,970 --> 01:54:37,810
The language of the lovers
which is also the language of the film,
1594
01:54:37,940 --> 01:54:41,150
shared by the lovers in the film
1595
01:54:41,270 --> 01:54:43,860
and the audience in this sequence.
1596
01:54:43,980 --> 01:54:45,690
I saw her one last time.
1597
01:54:45,820 --> 01:54:46,940
The reason we work.
1598
01:54:50,200 --> 01:54:51,450
This last scene...
1599
01:54:53,410 --> 01:54:55,370
...was the first one to be written.
1600
01:54:55,490 --> 01:54:57,830
It's the one I made the film for.
1601
01:55:02,130 --> 01:55:03,710
Theatre, indoors, night.
1602
01:55:04,630 --> 01:55:07,800
Marianne edges her way
past members of the audience
1603
01:55:08,840 --> 01:55:11,050
on a balcony
of an Italian-style theatre.
1604
01:55:15,260 --> 01:55:18,730
She sits down
and watches the room fill up
1605
01:55:19,770 --> 01:55:22,520
amidst the hubbub of voices,
amplified by the acoustics
1606
01:55:22,650 --> 01:55:24,190
in the auditorium.
1607
01:55:35,950 --> 01:55:39,710
A familiar silhouette is making her way
along the opposite balcony.
1608
01:55:42,000 --> 01:55:45,630
Her face is revealed
and Marianne is transfixed.
1609
01:55:49,170 --> 01:55:50,260
It's Héloïse.
1610
01:55:51,380 --> 01:55:53,760
She edges her way
past occupied and empty seats
1611
01:55:53,890 --> 01:55:56,680
until she reaches the end of the row,
like the edge of a precipice.
1612
01:55:57,520 --> 01:56:01,060
She sits down.
She is right next to the stage.
1613
01:56:01,190 --> 01:56:03,400
She stares straight ahead.
1614
01:56:03,520 --> 01:56:06,070
She doesn't look at the audience,
where the conversations fade,
1615
01:56:06,190 --> 01:56:08,570
one after the other,
as if by common consent.
1616
01:56:08,690 --> 01:56:09,860
She didn't see me.
1617
01:56:09,990 --> 01:56:11,530
The theatre is gripped by a silence
1618
01:56:11,650 --> 01:56:14,240
just as violins strike up
their first thundery notes.
1619
01:56:18,830 --> 01:56:21,120
Like a held breath,
pierced by a famous staccato.
1620
01:56:22,420 --> 01:56:25,130
The inaugural notes of the Presto
from Vivaldi's "Summer".
1621
01:56:27,210 --> 01:56:30,880
Héloïse looks troubled on hearing
the opening bars of this longed-for piece.
1622
01:56:32,340 --> 01:56:35,050
We home in imperceptibly
on her face
1623
01:56:35,180 --> 01:56:37,510
during the three minutes
that the movement lasts.
1624
01:57:01,330 --> 01:57:03,960
Her face reflects
the dramatic composition of the music
1625
01:57:04,080 --> 01:57:05,500
as she listens to it.
1626
01:57:06,330 --> 01:57:08,790
With its massive build-up of intensity,
1627
01:57:10,590 --> 01:57:14,630
it has everything:
Surprise, exaltation,
1628
01:57:14,760 --> 01:57:17,680
a beating heart, expectation,
1629
01:57:17,800 --> 01:57:21,100
melancholy, concentration,
1630
01:57:21,220 --> 01:57:23,350
flushed cheeks,
1631
01:57:23,480 --> 01:57:26,350
memories, sadness,
1632
01:57:26,480 --> 01:57:29,150
and the breath deepening.
1633
01:57:41,660 --> 01:57:43,540
All the expressions of a woman
1634
01:57:43,660 --> 01:57:47,290
that we know well
and have enjoyed looking at,
1635
01:57:48,080 --> 01:57:49,590
that we have loved.
1636
01:57:50,840 --> 01:57:54,800
We also discover things
we didn't know about her,
1637
01:57:54,880 --> 01:57:58,220
perhaps because they are new,
like the lines in the corner of her eye,
1638
01:57:59,140 --> 01:58:02,140
perhaps also because
they are things we haven't spotted
1639
01:58:02,260 --> 01:58:04,270
which remain to be understood.
1640
01:58:26,540 --> 01:58:28,500
When the piece reaches
its thrilling finale,
1641
01:58:30,880 --> 01:58:35,170
Héloïse reveals the last
and most alive of all her faces.
1642
01:58:46,850 --> 01:58:50,480
I gave Adèle just one direction:
End with a gasp.