They unite against the society of men my crime By François Ozon. A meeting with two actresses is already needed.
These are the cinema revelations of 2022. Two young movie actresses with sublimated actress roles. In A young girl who is good Sandrine Kiberle, Rebecca Marder frets as a student actress under occupation. In almond trees, By Valeria Bruni Tedeschi, Nadja Tereskevic abandons herself body and soul as a student at Patrice Chereau’s theater school. This Friday, February 24, at the French Film Awards, they faced each other, decided by their peers. It was Nadia Tereskevic who won the battle to win the César for Best Female Hope. But soon everything will be quickly forgotten to accompany the new film of François Ozon, whose glittering alliance they form.
In the video, my crime By Francois Ozon, trailer
Disrupting the cliché of competing brunettes and blondes, the French director imagined them as best friends. my crime A delightful comedy about two roommates struggling to make ends meet in 1930s Paris. She wears her dress to protect him. in the spirit of Vase And eight women this tribute screw balls (Comedies of the Golden Age of Hollywood) poke fun at the codes of theater and cinema, suggesting excess and decorum, but not forgetting to connect with the era.
Through this burlesque story, freedom of speech, sisterhood, and the power of character are truly questioned by the filmmaker and his troupe. Supported by Isabelle Huppert (irresistible as a tragic actress of past glory), Danny Boone and Fabrice Lucini, Rebecca Marder and Nadja Tereskiewicz embody the changing world, artistic talent and women’s society. A breach is inevitable for these young talents who reform their duet during an interview. Despite her reserve, the blue-eyed brunette, who has lived at the Comédie-Française for seven years, has a calm demeanor, a direct and determined gaze. A former dancer, her partner is genuine laughter, spontaneous energy, enveloping sweetness. François Ozon will find the harmony of his duet precisely in these differences, but also in the passion and demand of two hopes without which French cinema will no longer know.
Miss Figaro. – What does François Ozon represent for you?
Nadia Tereskevich. – Although my cinephilia is very recent, I have seen almost all of his films. When I was 15, I remember taking a bus to the south of France to see At home. Twice. What I like about Francois is that he is unclassifiable, that he dares to tackle all registers.
Rebecca Marder. – I am a fan eight women actresses great movie i watched on repeat and Water drips on hot stones. For me, Francois represented the dream of cinema. His love for actors is so evident in the character. And on set, when he’s taking shots of himself, you really feel like you’re being watched.
NT – And you get carried away by his crazy energy. In this film, through my role as an actress and Isabelle Huppert, she asks questions that we all face. why do we want to be an actress? How to be honest while playing? How to stay in the profession…
RM: – There are also strong parallels with the theater, where I am from. In addition to the “boulevard” tone or the court cage turned into a theater stage, François allowed us to rehearse for a long time on the set and created a theatrical spirit. He gathered the holy monsters and novices without anyone trying to do his number. With him, it’s not the name that matters, but the excellence of the group.
NT – Valeria Bruni Tedeschi also worked in this direction Almond trees Experiment, create unity… I’ve never been involved in theater, but I have a strange impression that I came close to it with these two films.
The film is distinguished by the relationship between women. they don’t wear their buns like in the Hollywood classics, but form a common front to take their rightful place.
Rebecca Mander
The resonances are beyond that. the film also tells about the condition of women, yesterday and today.
NT – In the 1930s, women had neither the right to vote, nor notebooks, nor a voice in their heads… Our characters are at the forefront, but they reveal the political conscience by necessity. it is the key to their survival. Things have moved on, but what they experienced sometimes resonates today.
RM: – François injected the spirit of #MeToo into his script. the producer who tries to bully the young actress, the emancipation of our characters through words… And what’s impressive is that he makes people laugh about these topics without ever discrediting the fight. The film also stands out in the relationship between women. they don’t make buns like Hollywood classics, but form a common front to take their rightful place. It goes against a lot of clichés about female competition, and I think it’s nice that a man says it. The fact that Isabelle Hooper, Nadia and I play her also says something.
About the lack of competition between actresses.
RM: – Completely. I, the women who carried me, sometimes felt relieved when I thought of leaving this job. Dominique Blanc or Julie Delique at the Comédie-Française, for example, reinforced my idea that everyone has their place, that the important thing is to last, and the most important thing is to play wherever it is.
NT – The profession opposes us with castings, awards… But the roles always find the actress for whom they are intended. I passed the castingA young girl who is good but when i saw rebecca it was so ridiculous. And when he turned around, I did babysitter Monya Chokri, who has become one of my best friends. Everything makes sense.
RM: -I agree. I even forget I auditioned when I see a movie in theaters with someone else. The period of change we are living through, with the rise of platforms, also forces us to be humble and benevolent; we don’t know how these changes will affect us.
NT – Recent events have shown us that nothing is certain. So we all enjoy together in the spirit of camaraderie. And really, I say this without naivety.
“It’s an opportunity to do this work while giving more space to women’s visions.”
You were nominated for a César for Sandrine Kiberlain and Valeria Bruni Tedeschi. What does their “sponsorship” mean?
RM: – I don’t forget that it was Olivier Dahan who first trusted me to embody an extraordinary fate Simone: But the trust that Sandrine placed in me, filming me from every angle with incredible generosity, made it possible to magnify the one I was struggling to extricate from myself. Everything changed with his film. after being the “shy girl number 3 on the bus scene” for a long time, today I’m being offered leading roles and great supporting roles.
NT He was also the person who first confided in me, Dominique Moll Only beasts. But Valeria’s school changed my method. We watched together, always respectfully, how to move, to go further, to use my fear of ridicule… He taught me that acting means being 42 degrees, never lukewarm. Thanks to him, for example, I became more daring on the set of films by Robin Campillo or Stephanie Di Giusto, where I play a woman with a beard.
In my crime Actresses say they depend on men’s strength and goodwill… Still do.
NT – This work is an opportunity to do when we give more space to women’s visions. That said, I had the opportunity to work with benevolent men, where the concept of the relationship between desire and seduction was no different than what existed with the director.
RM: – During the last three years, I got the impression that directors, men, also offered me difficult ways. Taste and color… And high hopes By Sylvain Desclos, I Play a Woman in Politics (released March 22) asks questions about what is considered moral for a woman, how we perceive her ambition…
NT – There is also more room for female characters aged 50 and over. A question raised by Francois’ film.
At a time when your career is on the rise, how do you manage the benefits of work?
NT – I am questioning the legality of my speech. So, at this moment, I prefer to express my commitment through my roles.
RM: – I am taming all this because I used to be protected by the Comédie-Française. I didn’t have time for promotion and I wasn’t allowed to work with brands. Today I take it all as a game, but it seems to me that it is necessary to keep a little mystery. I am afraid that seeing us a lot in newspapers or social networks, the desire of the directors or the faith of the audience will wither. I want to be able to disappear behind my characters.
NT “We cannot be outside the system, we are asked to accompany our films on the networks, but we have to find a form of distance to preserve ourselves, not to be an open book, to feed on something other than ourselves…
Today I am lucky to have 1000 lives in one
Nadia Tereskevich
How did your beginnings in dance and theater shape you as a film actress?
NT – I danced eight hours a day for fifteen years, but deep down I knew I was in the wrong place. Like when I was hypokhâgne/khâgne. But these experiences allowed me to measure how much I enjoy playing. Dance also gave me toughness. I even feel like I never have enough.
RM: – This discipline, the Comédie-Française also instilled it in me. I couldn’t drink too much with my 20- to 27-year-old girlfriends because I had a responsibility to the troupe. It’s the workout that strengthens and builds muscle. We are craftsmen, athletes because of rhythm and sponges. changing parts and roles allows you to acquire techniques and remain mobile, quickly adapting to different universes.
NT – For me, it’s listening to classical music or discovering choreographers like Pina Bausch that sharpened my artistic sensibility. But above all, dance taught me to use my body as a vector of emotions.
Didn’t you feel your youth slipping away from you?
RM: – Never. I started making films and television films from the age of 11, but without pushing myself. I was the one who demanded it, I suffered for my mother’s despair, moreover. I also had friends, lovers, vacations, and I never saw cinema or theater as an obstacle in my life. It was just what I loved to do.
NT – I didn’t have a real youth, but my work offers me an express catch. in one.
“My crime”, François Ozony. It was released on March 8.
In the video: the trailer. High school studentBy Christophe Honoré with Juliette Binoche
Source: Le Figaro
