Isabelle Huppert. “Both people and ideas can evolve”

How to create a dialogue between two forces that are diametrically opposed? Does the human take precedence over the ideological? Is it still possible to live together? These complex questions do not allow us to make approximations. So Andre Techine needed the finesse of a great performer to address these questions in his new film, The People’s Door (1). Isabelle Hooper thus slips into the role of a scientific policeman who, without revealing her work, befriends the family of a black alliance activist. The always fascinating actress talks about meeting her director the bronte sisters about his vision for cinema and future projects.

Madame Figaro. – Have you rediscovered your old reflexes with Andre Techine? ?

Isabelle Huppert. – Cinema is the power of the first time, with all the freshness and exploration of the unexpected that that entails. You have to invent everything about every movie you make. On the other hand, I knew I would rediscover the wit and sense of direction of André Teschiné. Andre is a master of characters, who pays great attention to details, costumes… Cinema is also an art of precision, and nothing is left to chance with him.

How is the script? people next door he called you ?

As is often the case with Andre Techine, this film combines both romance and very contemporary issues. It deftly combines the highly coded universe of the police with the more dangerous world of black blocks. Not only does my character work in the scientific police, which makes it easier to avoid archetypes, but Andre also shows other problems of the profession: psychological fragility, difficulty in defending rights, lack of resources… As for the neighbor in the black block: he is also an artist, which allows us to imagine rebellion and artistic gesture.

This is a story about being open to others ?

A priori, the characters have nothing to do together, but they find a common language, friendship, cohesion. Their relationship is also represented by the line dividing their houses. it is very real but easily crossed. Through images, cinema has a great virtue: it can tell a lot without theory, distract the eye without getting lost in explanations.

Many actors say their choices are a reflection of the citizens they are. Is this your case? ?

Above all, I strive to make good films. I know that cinema is ethical enough that you can go into interesting spaces that can make you think, but I don’t think politically or ideologically. Cinema is not meant to be militant. For me, beauty, emotion, audacity will always be in the first place. It’s also the character’s journey and what can raise questions without giving answers. I do give you some love for the outlaw characters though.

Cinema has a great virtue: it can tell a lot without theory, distract the eye without getting lost in explanations.

Isabelle Huppert

A word about your co-stars in the film ?

Working with Nahuel Perez Biscayart and Hafsia was very easy and fluid. We made a perfectly suitable trio. I had already met Nahuel. we rehearsed and played together The Glass Menagerie, and I was glad to find him. As for Hafsia, I knew her through her films, but I really shared the power of her portrayal in Andre’s film.

You then found him The Prisoner of Bordeaux (2), by Patricia Mazzu, due in late summer ?

Yes, we play two women whose husbands are in prison: a bourgeois wife, an ex-dancer, and a mother of humble origins. Against all odds, they help each other and become friends. The films of André Teschiné and Patricia Mazoui have an opposite view of the times, which often turn people against each other based on their profession, social origin, background, ideas… Without being naive, they have faith in man. beings, focus on listening and showing that people and ideas can evolve. There may be areas of common ground and understanding. At least for a while. Internal rapprochement is possible, but in both cases it does not resist social reality.

Both films deal with sorority. Was it decisive in your career? ?

No more than the bonds I was able to form with men. But I’ve always worked with women directors: Marta Mesaros, Diane Kuris, Patricia Moraz, my sister Caroline, Christine Pascal, Ursula Mayer, Claire Denis, Jeanne Labrun, Mia Hansen-Loew, Eva Ionesco, Anne Fontaine, Eliza Girard, Patricia Mascali. with. with whom I had done too Saint-Cyr In 2000… However, I let myself be carried away without questioning gender. For me, cinema naturally belongs to women and men.

President of the Venice Film Festival

But big differences remain in the environment…

Of course, and I’m glad that female directors have more and more opportunities. Equality of opportunity should clearly not be an issue, nor should equality of pay. Today, despite a few exceptions, the biggest budgets still go to men. Maybe women choose subjects that require less money. Or maybe they’ll let themselves explore other areas if we let them.

You will preside over the Venice Film Festival from August 28 to September 7. What does this festival mean to you? ?

Mostra is one of the biggest cinematic events in the world, with an always exciting selection and an environment of unparalleled magic. I’ve been there quite often with many films, including a recent one The syndicalist Or Sidonia in Japan and I had the pleasure of receiving two translation awards Women’s work And ceremony, by Claude Chabrol, and a special Golden Lion of the Year Gabriel, By Patrice Chereau, presented. I have a long and beautiful history with this festival.

(1) Neighboring people By Andre Techine, with Isabelle Huppert, Hafsia Herzi, Nahuel Perez Biscayart… (2) The Prisoner of Bordeaux With Patricia Mazoui, Isabelle Huppert, Hafsia Herzi… Released on August 28.