Having become a star at the age of seventeen with “La Vie d’Adèle”, Palme d’or at Cannes in 2013, Adèle Exarchopoulos returns with the amazing, “Rien à foutre” which offers her a strong and terribly contemporary role. Interview.
Maybe her character Cassandra, a stewardess in a low cost airline, could be Rosetta’s daughter? We feel, in any case, a certain affiliation with the cinema of the Dardenne brothers in “Rien à foutre”, shot partly in Belgium, but also abroad. But here, we add a truly festive, solar and eminently current dimension to the social purpose. Adèle Exarchopoulos counts for a lot in the success of this film.
What prompted you to shoot “Rien à foutre”, the script and/or the directors?
I discovered their short films when I knew I was going to meet them. I very quickly perceived that they had a need for truth and a rather strong feeling of “hard work”. It was a style that did not seek to make an effect and I liked it a lot. When I met Emmanuel Marre, I felt it would be more of an experience than a film. It’s a film about the spirit of the times, the generation of twenty-somethings, with a look that doesn’t judge, tenderness and humor like I’ve never seen. I immediately wanted to embark on this adventure that I felt would be out of the ordinary.
Does this film portray a disenchanted generation, in your opinion?
“This film depicts a generation that has a quest for life despite a dangerous ambient climate.”
Completely. It depicts a generation that has a relationship to excessive consumption, without emotion and sometimes without feeling. Who has a need to get lost perhaps to find himself. A quest for life despite a dangerous ambient climate. There is a lot of frustration among young people, and at the same time, a great desire to live. The gaze of the directors is fair and never moralizing.
Your character as a young air hostess is both super professional, very party girl and hurt by the death of her mother.
She is a girl who makes choices in relation to mourning and flees a form of everyday life. She also fantasizes a form of reality. Air hostesses, I think we all fantasize about them a bit. But there, she is confronted with the middle of low cost companies where the figures are the priority and where the social conditions are completely uberized. She does not seek to analyze. She has a huge need for life.
It was striking to see her facing the trade unionists. Here too, she doesn’t give a damn.
“It really reflects today’s world where you have to pretend a lot.”
She tells them, “I don’t even know if I’ll be alive tomorrow.” It does not have a collective and anticipatory spirit. Anyway, when we are unhappy, we are sometimes a little selfish.
I liked the training scene where she teaches passengers to smile.
It really reflects today’s world where you have to pretend a lot.
Do you get something out of it for your job, especially during photo calls?
What can come close to the middle of air hostesses, even if they are absolutely not the same privileges, is that in our profession as actresses/actors, the exercise of promotion is, in part, about the order of the mask, fantasy and reincarnation. Afterwards, everyone plays with the codes they want. Me, photo calls, red carpets, I always took it as a kind of game.
What were the directors’ guidelines?
They were especially very strong in conditioning. The majority of the actors are non-professional and play their own role. So the fact of being in conditions of the real and of the order of urgency generates something extremely true. This is where their strength lies.
The nightclub scenes in Lanzarote were shot on a smartphone. Why?
“I think we could make a whole movie with an iPhone. Today, we can reinvent everything.”
Other scenes were too. The film is really a mixture of iPhones and cameras. We didn’t always have filming permits. We shot with blind planes when we were pressed for time. In Dubai, for example, we had no authorization, so we made do with the means at hand. I think we could make a whole movie with an iPhone. Today, we can reinvent everything.
After this film, where do you want to go?
I want to continue to expect nothing, to hope a lot and to see what encounters bring me. And I crave comedies.
Film by Emmanuel Marre and Julie Lecoustre, with Adèle Exarchopoulos and Mara Taquin.
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Adèle Exarchopoulos: “I want to continue to expect nothing and hope for a lot”