She won the last Golden Lion at the Venice Film Festival with her second film, The Magisterial The event. She also made her debut in this magazine … impeccable career.
It is not common to see a former trainee in the “books” section win a Golden Lion in Venice. And at the same time, we do not fall naked. When she entered Technikart, twenty years ago, Audrey introduced us to the Mathis, a bar in the 8th arrondissement where the people (and where she knew more or less everyone). While writing for this magazine, she was also interning at Com8, JoeyStarr’s streetwear brand. When we met her at Glamour, at lunchtime she wrote a novel and during her vacation, she worked as a screenwriter for the Canal + series, Mafiosa. Then, she participated in the French launch of freemium Tea Stylist while co-writing the films of his companion at the time Cédric Jimenez In the sight of all Where French… Audrey is always late, Audrey is just passing by because she has a date afterwards, and another one afterwards… There has always been something energetic and oxymoric about this young woman from the beautiful neighborhoods that we knew registered in the section of young socialists of the 9th because there was none in his 16th native. A series of contradictions that she was determined to get out of by going forward. And besides, what is the point of telling aperitifs at the Flore with Lolita Pille, and evenings with Melvil Poupaud at the Baron circa 2004. It is not for his address book that we do his portrait today but for her film, the second she made after but you are crazy (2019) – a story of addiction and family, staring Pio Marmaï and Céline Sallette.
The event is a harsh and explicit feature film that tells about an illegal abortion in France in the 1960s. A cash and trashy film with suspense not at all vintage. He keeps pace with his heroine: Anamaria Vartolomei, seen in My Little Princess Where The exchange of Princesses where there was already a strong question of male domination. “The idea was not to make a reconstruction film, she explains to us a few weeks before its theatrical release. If you tell this story in the past tense, you take the subject off. I wanted to take this story head on, cross it, live it. All my choices were geared towards this experience. “ The speech is well established, the approach considered: “Laurent Tangy’s camera sticks to the character. It is never the setting that she values, but the way Anamaria’s body moves within the frame. At the beginning, it is a little wider, and the more she walks towards the unknown, the more you tilt behind her back to move forward with her … When she opens a door, you don’t know who will be on the other side, someone. one who will help her, who will denounce her? “ The film affirms a feminist discourse that we have not always known in Audrey … Unless we were less sensitive to it a few years ago. “The way I live my position as a woman in society is an intimate question that has always been with me. My commitment is in my work. It was the subject of my novels, and when I co-founded Stylist, we assumed the word feminism to describe the editorial line, even if it could be divisive. Today I am a member of the 50/50 collective, I think about what I want to change in my way of doing things, to deconstruct what I see wrong because of my culture and my education. “
“JANE CAMPION ADVISED ME TO MEDITATE. BUT ME, WHEN I PUT ON MY MEDITATION PROGRAM, I SLEEP… ”
On the other hand, what remains unchanged about her is the energy that she has always known. A rage to act that brought her to this film. “ I would be very curious to know how I am identified. My background is heterogeneous, people all have a different opinion on this subject. And even I find it hard to define it. We rewind, then. ” I have always wanted to write, but I had no desire for a function. I accumulated experiences with the sole intention of remaining free. The risk of trying things is to be disappointed with yourself. I have often been wrong and there is a value for error, it is not said enough. »His two novels for example, The Making of a Lie and On the other side of summer (Flammarion, 2007 and 2009) left him with a mixed impression. ” It didn’t work too badly in terms of sales. But I felt like I wasn’t mature enough, it was too early. I enjoyed writing, but I needed to experience other things. “
Never mind, very quickly the desire for image takes over. Even though she still committed one last book, How to be a Parisian (2013) co-written with Anne Berest and Caroline de Maigret, and published directly in the United States, a bestseller translated into 31 languages, the final bouquet of the first act of a thick biography. A posteriori, however, it detects a certain logic. ” When I decided to move on to directing, I felt it was a deep, visceral desire, and I felt like I was ready. The writing, the making-offs on the sets of other directors, the co-responsibility of a magazine that taught me how to make a lot of skills work together… I didn’t have a secret plan, but in retrospect I got it. ‘impression that, by chance, I did it right. ” The event was born above all from an encounter, that with the work of Annie Ernaux. ” Both of my parents were born into extremely modest backgrounds and were very successful. I spent a lot of time with my Romanian-born grandmother, growing up straddling two worlds, feeling like I didn’t know who I belonged to. When I read Back to Reims of Didier Eribon or the books of Annie Ernaux, I understand very well what they say. But I hadn’t read the event and I discovered it shortly after having the abortion, she explains without stopping on this point. I was flabbergasted. I had an idea that I thought was clear about what the clandestine abortions could have been, but the further I went through the story, the more I realized that I didn’t know anything. Nothing of the reality of this journey, of this violence, of this loneliness. The suspense was unbearable, I couldn’t let go … “
The event has a comfortable budget of just over three million euros, but a small budget for a period film. “ Clandestine abortion is a difficult subject to finance. We must explain it, say that it also speaks of desire, female pleasure and the desire for freedom. And, even if I don’t have any proof of what I’m saying, my feeling is that there are people who are not necessarily for abortion. Or, in any case, who don’t want to be told about it. There is a growing excitement in society on the subject: this story asks the questions that girls in Texas ask themselves today. While regularly I have heard: “in France the law is passed. Why make a movie now?“I would love to ask the same question to the directors who come up with scripts about WWII. “
And this is also the reason why the jury of the Venice Mostra felt the urgency there was to distinguish this film. Suddenly, if we make the list of French people who have obtained a Golden Lion, Audrey Diwan succeeds Godard, Varda, Rohmer and Malle. Just that ! If we prefer to make the list of women who have received this same statuette, it is always Varda, Sofia Coppola and Chloé Zhao… Paradoxically, it did not surprise us more than that. In a few months, Florian Zeller – whose novels Audrey had crushed in these pages before becoming friends with him – won an Oscar for The Father. And Julia Ducournaux, the Palme d’Or in Cannes for Titanium. She also exchanges text with her while we are interviewing her, since this is the day when the French committee will choose which film will represent France at the Oscars (it will be Titanium and not the event…).
Another unfortunate candidate, North Bac by Cédric Jiménez, of which Audrey Diwan is the co-writer. “ I wrote the first two versions of the screenplay. I made a plot, but afterwards, Cédric developed it, he created other characters, worked with the actors, edited… If the film is a hit, it’s because it’s his film », She concludes with a certain class.
Taken during the day by the national and international promotion of The event, Audrey now wakes up at 5 a.m. to write. Valérie Donzelli’s next film based on the novel by Eric Reinhardt Love of forests, that of Teddy Lussi-Modeste on the collapse of the school, the new Gilles Lellouche… “ I got involved with them, when we didn’t know at all what would happen for my film. And I cannot fail to live up to what I promised them. “Beyond this sense of friendship and the responsibilities that she puts forward, we see another trait emerging of her insatiable character:” You would tell me: “You have nothing to do today”, I would be really helpless. After the ceremony in Venice, Jane Campion advised me to meditate. But me, when I put my meditation program, I fall asleep. This is my own meditation, the “nap meditation”. “
The event, in theaters November 24
By Jacques Braunstein
Photo Alexandre lasnier
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The Diwan event – TECHNIKART