“Do you find me less stupid than you expected?” She laughs. It was she who immediately asked for the familiarity. And little by little, returned the interview. It is now Léa Seydoux who asks the questions without our realizing it. We met her in Paris before coming to the Cannes Film Festival for no less than four films, three of which are in competition: France, by Bruno Dumont, My wife’s story, by Hungarian director Ildyko Enyedi, and The French Dispatch, by Wes Anderson, she is also the leading female role in Deception, by Arnaud Desplechin (“Cannes premiere” selection). This was before being declared positive for Covid-19 and having to cancel her visit.
That day, she wants to know if we liked the films we saw in Paris in preview, what we understood, of her films, of her. The desire to grasp the reactions once again, even if she says that in any case, they will always be multiple, opposed, partial and subjective. But all the same, mirrors, my beautiful mirrors, what are you telling me? says the almond-eyed actress whose filmography is multiplying like hot cakes (we will see her this fall as James Bond girl in To die can wait, and she has already started filming the next Mia Hansen-Love film).
« My image escapes me, she said nicely with the tranquility of those who have dragged their bumps on the shrink couches. I have a view of myself that is totally wrong. In truth, I don’t have one. And besides that does not interest me, the vision that I have of myself is the vision that others have of me, what others feel. As an actor, you become your own caricature. Bruno [Dumont] filmed me as he films landscapes. He loves to film landscapes. The character of France is at the same time childish, deep, superficial, ironic, in love, he is all that, very sincere in his suffering. And finally things are beyond us. The film says that, and that in what escapes us there is grace. “
A school of difficulty
“Each director has his own language, his perspective, his point of view, it is his gaze on the world, but the world is vast”, she said simply. Breillat, Mocky, Honoré, Kechiche, Dumont… His filmography is a school of difficulty. We think of this sentence by Arnaud Desplechin reported in Release by Philippe Azoury: « She has a desire for a scaffold. » It was after Roubaix, a light, in 2019.
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