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Adèle Exarchopoulos: “I dived into the underside of low-cost flights”

The actress, revelation of La vie d’Adèle, is dazzling in Rien à foutre, a film currently in theaters which tells the daily life of an airline flight attendant.

Nine years after her Palme d’or obtained at the Cannes Film Festival with Léa Seydoux for La vie d’Adèle, the only Palme d’or in the history of the festival awarded two actresses – and it was Steven Spielberg, then president of the jury, who had made a point of rewarding them -, Adèle Exarchopoulos finds in her latest film, Rien à foutre (currently in theaters), her most significant role. Totally moving and with phenomenal accuracy, it portrays a somewhat lost low-cost airline stewardess, who flees reality – in particular the death of her mother – by multiplying trips, parties and shots. one night.

By immersing us behind a fascinating backdrop, of which until now we only knew the tip of the iceberg, the film imposes itself as a Polaroid of the modern world, that of a certain youth. From Morocco, where she is recharging her batteries before preparing for the Cannes Film Festival, where she will present two new feature films, the actress tells us about the amazing shooting conditions of this film on the borders of the documentary.

We only see you in Rien à foutre. From the first to the last frame, you carry it admirably on your shoulders… Did you expect to have such a presence?
No not at all. For the simple and good reason that Emmanuel Marre, one of the two directors, whom I met first, had been very clear from the start: he did not want to follow a precise scenario but to reinvent everything according to the meetings, having total freedom during filming and improvising a lot… I had seen one of his short films which took a look full of humor and depth at our generation and I had total confidence in him. Just like Julie Lecoustre, her partner, whom I met later.

At first, both were considering giving the role to a real flight attendant. What made them change their tune?
I don’t really know… They actually met hundreds of flight attendants before we found each other. I had also been warned: “It is not certain that you will have the role, perhaps they will find the hostess of their dreams”. And then with Emmanuel, during this meeting, we liked each other… They still asked me to do some tests, in a small hotel room, on the Brussels side, all made up with a hostess costume, to be sure of their shot… He wanted to see how I carried the ritual of loneliness of an air hostess who gets up at dawn, unable to have an emotional life…

You then took training courses. How was this immersion phase?
I left with a low-cost company to do empty legs: Paris Madrid, Madrid London, London Paris… And I dived into the underside of these flights, in terms of preparation, security, pressure of numbers to sell as many products as possible for the passengers… That’s when I started to understand one of the essential elements of the character: this notion of having no hold on the present… One day, we were about to take off and I get a phone call from my young son’s school principal, who usually only calls me when there’s a problem. And there, for 3 hours, in full flight, I realized that I couldn’t do anything for him or for the people I love. I couldn’t talk to him, couldn’t act… We suddenly realize the constraints of this job, and the impact of these on their lives.

There is also this notion of the mask, very present in the film, that these hostesses must display, of perpetual representation… Is there a parallel to be drawn with what you sometimes experience as an actress?
A little yes. In the air, they must disconnect from reality, forget their problems and smile no matter what. Not to mention those passengers convinced that they will soon die and that you must reassure. And with the exception of this last point, when we actresses find ourselves on a promo, we are asked the same thing: to take a certain posture for the photos, to be pretty, with a smile on our lips and also to forget our worry. Moreover, to show you how important the notion of the mask is, I remember that when I became pregnant, after the Palme d’or at the Cannes Film Festival for La vie d’Adèle, I could not find no more roles and I went back to work in my father’s little sandwich stand, where I worked before breaking into the business. And for people, it was just inconceivable that the glamorous actress they knew would sell them popcorn. When they told me that I looked like him, no matter how much I told them that in fact it was me, they were convinced that I was telling them canards: “You say nonsense! Come on, put me some M&M’s with that…”.

The filmmakers mentioned filming sometimes hastily in airports… Concretely, how did it go?
We would arrive in the morning and I would go to the toilets to change and do my make-up… For certain airports, notably that of Dubai, we did not have authorization to shoot. So we pretended that we were doing scenes for a wedding between us. There were a lot of moments stolen or worked on in a hurry.

How does improvisation work?
Already, you need directors who know how to put you at ease enough so that you can completely abandon yourself. And it was. Afterwards, they asked a lot of hostesses or flight attendants to play their own role and it immediately creates something extremely natural. We also shot during real flights where the production had offered passengers to travel for free in exchange for being filmed. As for the party scenes, we were totally embedded in real fiestas. After all, not everything was improvised. We still had a script, with a few key scenes written that had to be respected.

Do you identify with this lost youth portrayed in the film, who only has Instagram or Tinder as a real landmark?
In part, yes, because I know how society works today, where everything is consumed very easily, where we constantly seek everyone’s approval. I practice social networks, Instagram often for my work, and it has very good sides. Afterwards, it’s already starting to scare me for my son. I don’t want him to fall into it too young. However, I am unable to do a Tinder. I’m not judging, I’m sure there are great love stories on that side too, but when it comes to feelings and encounters, networks, it’s not for me.

Last year, Rien à foutre was presented in the Critics’ Week selection at the Cannes Film Festival, where you will be present twice this year, with Fumer fait tousser, by Quentin Dupieux, in the Official Selection, and with Les cinq diables, by Léa Mysius, at the Directors’ Fortnight. Are you rejoicing? Can you tease these two films for us?
Cannes, it all depends on who you share it with. If my best friends are there, Leïla Bekhti, Tahar Rahim, Géraldine Nakache or Jonathan Cohen, I know I’m going to have fun, yes. Afterwards, for the films, I have not yet seen Fumer fait tousser. I only want a small role in it, but it’s still a very wacky film, with a team of fallen superheroes who must go green to tame their fears by telling stories. And Les cinq diables is a fantastic film where I play a young woman who lives with her husband and daughter in a village. And this child has powers allowing her to go back in time through smells and she will notably revisit her mother’s past…

Source : lematin.ch

Photoshoot by Arno Lam for Grazia Italy

Grazia Italy (April)

Le Flambeau, les aventuriers de Chupacabra – Trailer

Cannes 2022 : Quinzaine des réalisateurs

After the official selection, and while waiting for Critics’ Week and Acid, the Directors’ Fortnight unveiled the selection for its 54th edition this morning.

Among the stars expected are Léa Seydoux, Virginie Efira, Vincent Lacoste, Adèle Exarchopoulos, Sandrine Kiberlain, but also Irish actor Paul Mescal, revelation of the Normal People series. Also note the presence of Jessie Buckley (revealed by Wild Rose, and seen recently in The Lost Daughter) alongside filmmaker Alex Garland, selected for the first time at Cannes, with Eux (Men), in a special screening.

Unveiled this Tuesday, April 19, 2022, discover the official selection of the 54th edition of the Quinzaine des Réalisateurs:

Les cinq Diables by Léa Mysius
5 years after a remarkable first feature, Ava with Noée Abita and Laure Calamy, selected for Critics’ Week in Cannes, director and screenwriter Léa Mysius presents Les Cinq Diables, her second feature, including the start of shooting had to be delayed due to the pandemic and lockdown.

According to the committee of the Fortnight, it is a “dazzling and mysterious” film, whose “register touches on the fantastic”, with an “incandescent Adèle Exarchopoulos”.

The synopsis is as follows: Vicky, a strange and lonely little girl, has a gift: she can smell and reproduce all the smells of her choice that she collects in carefully labeled jars. She secretly extracted the scent from her mother, Joanne, to whom she has a mad and exclusive, almost sickly love. One day Julia, her father’s sister, bursts into their lives. Vicky embarks on the development of her scent. She is then transported to dark and magical memories where she will discover the secrets of her village, her family and her own existence.

Source : allocine.fr

‘Fumer fait tousser’ at Cannes Film Festival 2022

After a 74th summer edition, the Cannes Film Festival returns to the month of May, for a 75th fortnight placed under the sign of filmmakers, stars, revelations, nuggets and other cinematographic slaps. It is therefore from May 17 to 28, 2022 that the cinema planet will have its eyes riveted on the Croisette, which will host the traditional climbs of the daily steps. Who will succeed Titane by Julia Ducournau, Palme-choc 2021? Our editorial staff tells you everything you need to know about the works expected this year on the screens of the Palais des Festivals.

Midnight Screenings – Fumer fait tousser by Quentin Dupieux
Benoît Poelvoorde, Grégoire Ludig, David Marsais, Anaïs Demoustier, Adèle Exarchopoulos, Alain Chabat… For his tenth feature film, Quentin Dupieux brings together the Avengers of his cinema in Smoking makes you cough and their assistant newcomers such as Gilles Lellouche, Vincent Lacoste, Anthony Sonigo, Doria Tillier and Jean-Pascal Zadi, for a story of superheroes: the “TABAC FORCE”, whose going green after a fight against a demonic turtle is threatened by an Emperor of Evil. Superpowers, the absurd and a golden cast for the director, as well as a presence in the Official Selection (and Midnight Screening) for the one who had previously passed through Critics’ Week and the Fortnight.

Source : allocine.fr

Adèle Exarchopoulos, What I don’t have

When La Vie d’Adèle revealed her to the world, she was a girl with an instinctive talent. Today, nine years later, she is a conscious and contested actress, an organized mother, a true friend. Yet, she still lacks something.

“I’m looking for my place in the world”. Perhaps, you do not expect these words from an actress who seems to have clear ideas for some time: at 13 she made her debut in the cinema directed by Jane Birkin, at 20 she won the Palme d’Or as the protagonist – together with Léa Seydoux – of La Vie d’Adèle by Abdellatif Kechiche and today, 28, has a list of upcoming films worthy of a seasoned diva. For sure, Adèle Exarchopoulos, big black Maria Callas eyes that betray her grandfather’s Greek origins and her hair tied up in a high bun, grew up quickly. Like the character she plays in Julie Lecoustre and Emmanuel Marre’s Rien à Foutre. Cassandre is a flight attendant in a low budget airline; desperately alone, she has a wild life, she loves to have fun and hides behind the Tinder Carpe Diem profile; her vague dream is to move to Emirates. One morning she arrives late for work and is stuck for the first time in the same city for a few days, which forces her to deal with the emptiness of her existence and an important bereavement.

What do the roles you choose have in common?
These are usually independent women who make mistakes. Humanity is imperfect, and I don’t like clichés.

She quickly achieved impressive milestones and awards.
I continue to live in situations that I never even imagined possible.

How much has she had to fight?
The job came suddenly and by chance, at a time when I was afraid of leaving school, which wasn’t exactly my forte. I have known the disappointment of being rejected at the casting and of being considered a second choice. Everyone has their battles to fight, growing up means choosing which ones to spend their energies on.

Growing up also means finding your place in the world. She said she’s still chasing it…
I started acting very early, at 17 I was already living alone and at 23 I had Ismaël (from rapper Morgan Frémont, aka Doums) while friends went to parties to get drunk until dawn. Regardless of the goals, I often had to look for my space and the sense of what I was doing, because it was not suitable for my age or my generation.

Did she feel older, more adult?
In my choices, but not in my head, so much so that I have never experienced a moment in which I perceived them consistent with the environment I was in.

Are you quick to change course?
I have good instincts and, above all, true friends. If I tell a few lies, one of them will think to tell me: “you are bullshit, go further!”

A wrong course?
Nostalgia: sometimes you share something very intense with someone who suddenly doesn’t seem to exist anymore and it is useless to insist.

Do you tend to slide into the past?
I’m not the type of person who falls into depression. I face my emotions. And even when it’s hard, I get back on track, I try to keep myself in the flow of things.

You had troubled romantic relationships. After she ended up with Ismaël’s father, she was linked to actor Jérémie Laheurte for three years. Is love complicated?
Sentimental ties imply dependence, weakness, contradiction, passion: it is not easy to manage these emotions. As much as I am autonomous in working decisions, as much as I must have firmly established my emotional references.

What mother is she?
I’m very organized, but my job has several privileges: I don’t have to break my back to support four children, I mean. I try to keep Ismaël in the rhythm of my day while respecting his.

You have a long list of films in post-production. What project are you working on at the moment?
I have just finished shooting a bright film on ‘reconstructive justice’, which tells how one can recompose one’s life after the worst experiences.

Source : vanityfair.it