“L’Avenir”, the fifth feature film by Mia Hansen-Løve, in theaters this Wednesday, April 6, is the first meeting between the filmmaker and Isabelle Huppert. Who plays the role of a philosophy professor at the edge of the abyss. Meeting
clarity, delicacy, of time passing melody. And stands out the clear film by Mia Hansen-Løve, which had enjoyed All is forgiven and A youthful love . In The Future , his fifth feature film, she tells the difficult stage through which a philosophy teacher (Isabelle Huppert).
The Future is the portrait of a woman faces a double test, bereavement and rupture. Is it so far hopeless?
It is curiously seen as optimistic by many spectators. It takes me back to him a brighter picture than I was myself at first … I think I’m someone ambivalent character and this probably reflected in my films. What I find interesting in these different perceptions is that they reflect the idea that movies were unconscious. Part of the film escapes us, a sense proves once they are completed. Unlike The Future I thought that Eden , my previous film, would be lighter than it probably is. The Future BA trailer for The Future Mia Hansen-Løve (2016).
In your films, joy and melancholy are often inseparable …
Yes it’s true. Is it related to events dating back to the story of my family? I grew up with the striking image of my grandfather who committed suicide, leaving his wife and their six children, the youngest of whom was 4 years old and the eldest, my father 18 years old. The paradox is that I really idealized the family. The stories that my grandmother made me extremely happy were linked to Vienna, the French school there. My grandmother was half French, half Danish and Austrian. Their apartment was small but I kept the fantasy of something lively, cosmopolitan, with lots of children, many languages spoken, a flow of ideas. It is likely that a node is fixed there … I associate the idea of cheerfulness, childhood, innocence, to a form of melancholy. At the same time, I feel that The Future is my least melancholy film. It takes a lot to the character and Isabelle Huppert. Previously, it was rather the fathers who were in front and who embodied the melancholy figures. This time it is a female figure, which has more vitality, which is more pragmatic and strong. There is no detachment, this distance in the world, can be seen at the very beginning of the film when it opens at the grave of Chateaubriand in Brittany. There, it is the father of the territory, with its shades of gray. Ultimately, the film tells the emancipation vis-à-vis heroine of this world
Your parents were themselves philosophy teachers. Your father rather Kantian, your mother Rousseau to summarize you in a previous encounter …
This feature has been highlighted in the screenplay. My poor father finds himself suddenly someone as conservative and stiff, it is less than that in truth is more nuanced. But it is true that references throughout my childhood were based on the Kantian rigor, truth, clarity. And any German philosophy, Schopenhauer, Nietzsche … As he was translator in addition to being a teacher, he knew them well. Half of the library was with us in German, which I have reproduced in the film, I chose my own books, almost one to one. Rousseau was the obsession of my mother, who also loved Descartes, Plato, Socrates. The oppositions were sometimes trenches, which gave rise to scenes comical at home. But they also found themselves on other philosophers, all of otherness, altruism and humanism: Emmanuel Levinas, Hannah Arendt, Martin Buber …
© Rudy Waks
“There is a childlike happiness and naive to live the summer to film. The summer is quintessence of my identity as a filmmaker. “
in your relationship to nature and landscapes, are not you, you too, a Rousseau bit?
I am very humble in the field of philosophy. I have not read more than most students, even if I have studied German. I can just pass what a philosophy teacher. This close connection with nature, I shared with my parents, especially during major holidays in Ardèche, where we had a house, in a very wild area. Since there is a childish and naive joy of living the summer to film. To put my actors to be shooting: the quintessence of my identity as a filmmaker. In all my films some time ago the summer. Except Eden and this was a real lack. We really need that there is a specific reason for me to do an entire film in winter or in the studio, cut off from the light. Cinema for me is always associated with the fact of filming light.
After the departure of her husband, while the horizon should darken, you just show the heroine in the sun …
It is always in motion, we see suddenly in bed, asleep. It’s a dark signal; At the same time, there is indeed the pleasure of the summer. I wanted to do a portrait of a woman with the strength, but without knowing exactly where she could shoot. Advancing in the script, I noticed there was not a way out, a solution scenario, but it played a much more impressionistic in respect to time, to light, present. In this scene you mentioned, there’s also the wind that lifts the leaves. Despite myself, an image of Wind of Sjostrom after me: that of Lillian Gish constantly facing the wind and sandstorm forced to barricade himself in his shed at the edge of the desert. But, in the end, returns its destiny favorably by daring to face the wind. the Wind Extract Wind Victor Sjöström, with Lillian Gish (1928).
Having dealt mainly of youth, you approach another age, the fifties?
The film evokes that another generation. Still, my character draws much of its energy to the youth. What I find beautiful is his selflessness: it is sufficient to see the development of its students for fulfilling itself. These are students who bring light, allow it to stand, to move forward.
“Isabelle Huppert has adapted to me, I have adapted to it. “
with Isabelle Huppert, you call for the first time at a famous actress. What is it changed?
This is of course not quite the same turn with her than with non-professionals. But it has remained simple and that’s what I loved about working with it. It has adapted to me, I adapted to it. From my side, there was no calculation of willingness to work at any cost with a known actress. When I wrote this film, I just saw one else to embody this role, as fairly and convincingly while having the authority, intellectual charisma, humor and derision, I imagined at it.
where did the idea of editorial disappointments heroin responsible for a collection, facing marketers?
This scene is very faithful to certain memories. We all more or less lived that situation, we may decline in many other areas. She must have a cathartic value because many spectators thanked me for having filmed such. I admit I had fun to reproduce this jargon and all that demagoguery.
The Future knows beautiful lyrical, thanks to a song by Schubert and a title of Woody Guthrie. How do you choose your music?
I have a complicated and critical enough connection with the use of music, that bothers me 90% of the films, which I find very conventional , playing on emotions that disappear as quickly as they appeared. I know I can not work with a composer, at least for now. I use music sources that I know, who are from the interior scenes, not to be plated, otherwise I feel manipulate the viewer. We need every musical moment to make sense. The film has only three songs, plus the credits. It is ultimately very little.
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