INTERVIEW – The French actor has returned for the third time the director Stéphane Brizé. The Market Act , this social film in Cannes competition, his performance was highly acclaimed.
Even s it was present in Cannes there are four years to Pater Alain Cavalier, Vincent Lindon is more a stranger to Caesar the Croisette. He was nominated five times in the category “Best Actor” at the ceremony (for The Crisis , My small business , Those who remain , Welcome and few hours spring ), without ever receiving prices yet. Is Cannes that his talent is finally recognized with an acting award? His performance in The Market Act , Stéphane Brizé, has left more than a critical speechless. There were many who greeted him at the end of the press screening on Monday morning
In the role of Thierry. – A man of 51 years in precarious situations, between long-term unemployment and dehumanizing jobs – Vincent Lindon is breathtaking realism in this social film, which pinpoints inconsistencies in the economic system. During a press conference, the actor is back on the particular role of cinema in society.
LE FIGARO. – You are the only professional actor in the film. What impact have on your game non-professional actors?
VINCENT LINDON. – I measure the talent and work of an actor. Our job is to play people who are not actors. What interested me in the fim was to ensure that someone who does not know me could confuse me with Thierry, we can not discern the professional actor amateur actors. I do not really like the term unprofessional, I prefer to be told that they are people who have not played the comedy. For I know the players are not professionals more than they do.
Me I have the technique, I apprehend better the cinema, I know a little better how it goes. So they feared further their trade, unlike me who made me more difficult. But Stéphane is especially very comforting. He told us the same thing. We were all in the same boat. And the instructions were simple: we had to take our time. Because in real life, it takes some time to respond and cash, there is no director who told you to go faster.
Your character is constantly faced with social violence. What is the stage of The Market Act that you most upset?
Two scenes come to mind, very trying humanely. There when Thierry, my character, decides not to sell his mobile home. This is when we see it might be willing to lower spine, not at any price. It imposes limits. The other scene that particularly touched me is when we see an old man who stole meat. We feel it is extremely honest, he had worked all his life … and suddenly he comes to having to steal a piece of meat. One enters the tragedy in misery.
For the announcement of the competition films, some felt that there was not enough films on social issues such as The Market Act . What do you think? This kind it becomes minor?
I think exactly the opposite. Instead, Thierry Frémaux has chosen many French social films, including High Head , the opening film of Emmanuelle Bercot, and Dheepan , the feature of Jacques Audiard. This is a very good thing because for me, what remains in the history of cinema, it is in most of the films about their contemporaries and what is happening around. I think of Charlie Chaplin, Ernst Lubitsch, Claude Sautet, Maurice Pialat, the Dardenne brothers, Ken Loach … If this is to change their minds, cinema is quite a strong media to invite people think. That’s what Stéphane Brizé, which does not give order and does not say what is good or not. He gently forced to have a political opinion. Film is a very remote way of doing politics. But paramount.