Sandrine Kiberlein. “The best thing to hold someone back is to never tell them how bad we are without them.”

There’s something about Sandrine Kiberlain Diane Keaton. Markers that director Emmanuel Mouret offers a special case Temporary connection history, the most “Woody Allenian” of his films. The story of the meeting of a married man and a single mother, who promise each other happiness without a tie, delicate parentheses without complications. At least they’re convinced of it, because emotions can’t be controlled… Alongside Vincent Macken, the perfect French cousin of the neurotic Woody, Sandrine Kiberlain radiates, freer and sassier than ever. It is also exciting when the fantasy becomes more melancholic. It is he who directs this lovelorn waltz that is incredibly modern despite the deliciously anachronistic language.

In the video, Temporary connection historythe teaser

Once again, the actress surprises us. Because of his César number Nine months solid, he traveled so much that we thought we had seen everything about him. It should be forgotten the greatest talent. making the right choices to always reinvent themselves. Soon novemberre, 2015 regarding the post-assault investigation Green perfume, the detective comedy between Tintin and Agatha Christie, Sandrine Kiberlain is not done surprising us. “I walk by instinct, and so far it hasn’t betrayed me often. Those roles were too good to turn down, but I know three movies before December might seem like a lot. I hope I won’t bore people. Her fears should be quickly dispelled after succumbing to his irresistible charm Temporary connection historythe audience will ask for more.

Madame Figaro: Was it difficult to master the language of Emmanuel Mouret for this film?
Sandrine Kiberlein: This was the main challenge. My character is very talkative, always impulsive, never thinking. His speech moves faster than his thoughts and his rhythm required me to know the dialogues inside out. I lived with the text for weeks, as if I were preparing a play. The challenge was greater because it is a score for two, and not a choral piece like most of Emanuel’s films. However, I did not know Vincent McAne. What I perceived was a unique person and actor. It’s his signature and his talent, but I thought about it. There is such promiscuity, such intimacy between our characters, that it was absolutely necessary that our little music agree. This is where the genius of Emmanuel appeared, who realized that it would work between us, we are really complementary.

Sandrine Kiberlein and Vincent McCain. interview between the two

In what?
We are quite close to what we play. I am more focused than Charlotte, my character, I had a better understanding of what my neuroses are and what I can do about them, but, like her, I am in action, always on the move. Vincent, he is as full of anxiety in the movie as he is in life. Every minute a question arises, which I tried to relieve through phlegm or humor. We acted a bit like Laurel and Hardy. And I must say that sometimes I surprised myself when I became a spectator of his game, I forgot to give him the answer because I was surprised by his offer. I had only experienced this once before, with Daniel Otto.

Is Charlotte’s Tornado character yours?
I have a certain joy, a very strong awareness that everything is transitory and that you should take advantage. Like him, I am a complete person and I put 2000% into everything I do. I also believe that I share his genuine relationship with others. On the other hand, I am not as daring as he is, especially in love; I am capable of impulses, but only if I feel that the door is open. I need minimum insurance. because I brown very easily, I can grill very quickly. It is impossible for me to cheat.

Are your acting skills not helping?
When I’m standing in front of someone moving me, I have no safety net. These are my words, not the scriptwriter’s. I can get excited quickly.

Do you believe in the possibility of a no-strings-attached relationship that the movie is based on?
It is a mandatory postulate to start any relationship. Say “let’s get started and see” instead of pushing or making big promises. Of course, no one is naive enough to believe that no feeling emerges in the long run, but to declare it is to kill those moments of carelessness and lightness that are so precious at the beginning of the story. The best way to keep someone back is to never tell them how bad you are without them.

Do you think romanticism is still possible today?
I hope. Genre and comedy are not dead, and that is exactly what Emmanuel Mouret, who has no cynicism in him, demonstrates. That’s what I like about his universe. In my life, no doubt to protect myself, I have long played the card of detachment, sarcasm. But with this kind of parade, we sometimes miss some things. Today, I don’t want to lose any more opportunities. Better to carry the wind but have real answers. I’ve made Boris Vian’s saying, “A solution that destroys you better than any uncertainty.” Life is so short, love is such a miracle that you have to say when you like someone. Meetings are what change our lives. We have to arouse them, protect them.

Sandrine Kiberlein. “Why Anti-Semitism Still Exists”

Which ones changed yours?
In my personal life, my daughter and her father (Vincent Lyndon, Ed). It’s key, but it’s true. In my profession, I obviously think about manufacturersA young girl who is good or Éric Rochant, who decided to trust me Patriots. When he said yes, the person I wanted to become was born. Alain Souchon, with whom I worked on my album, was also very important. When people you admire understand who you are and walk a little bit with you, it helps you go further. Working with Emmanuel Mouret was also very inspiring. He possesses rare humility and fairness in a profession where there is often a desire to shine brighter than the other. Especially today.

When people you admire understand who you are and accompany you on your journey, it allows you to go further.

Sandrine Kiberlein

In other words.
The cinema is not experiencing its best period, attendance indicators are not good. I strongly believe that cinemas will endure and overcome this crisis, because nothing will replace the general emotions that they guarantee. But because the directors, actors or producers know that it is difficult to get out of the game today, there is less relaxation than before. Among actresses, myself included, I feel the fear of missing out on such and such a role. I’ve been thinking about this more since I’ve been traveling a lot lately. Obviously, I couldn’t see myself being turned down for all these incredible projects with Stephane Brize, Pascal Elbe or Nicolas Pariser (Green perfume), and a small voice also told me. “Now is not the time to let go. You are so lucky, don’t miss out while you can.” We are at a turning point. Double twist even with me.

You’re talking about fifty gowns considered fine for actresses.
Yes, even if many understood that it is necessary to find new stories, to offer other experiences. Besides, I have never worked as hard as I have in five to ten years. But I’m the age I am. At the age of 30, you tell yourself that you have time, there will be other opportunities. But ten to fifteen years later, we think differently. Everything is more uncertain, more urgent. I don’t think I have the age on my papers, but past 40, questions about career, future, possibility of return, we all ask ourselves, are you a woman or a man, an actress or a teacher? Especially in the current context, when our country and even the world is going through so many metamorphoses. The secret is to be aware of it, not letting fear guide our choices. I try to stay focused on my desires.

Like when you accept novemberwhich will be released on October 5.
At first I was scared and confused by the fact that Cedric Jimenez took over the offense so quickly. There are situations and trials that I found impossible to transcribe. When I realized that he was taking us behind the scenes of the police investigation, that he was interested in the collective, the mistakes, the aborted connections, the involvement of these men and women, I quickly calmed down. It took away the initial revulsion that I had to talk about this event that changed our lives. And then Cedric offered me something very different with this role of a female cop, a quiet force that keeps going while so many lives are at stake.

At Cannes, Rossi de Palma said the making of the film was a story of obsession

Sandrine Kiberlein

As for the production. New project in sight?
At Cannes, Rossi de Palma said that the making of the film was a story of obsession. Until I’m there, nothing concrete will happen. But I really want to go back to it because the experience was one of the most satisfying of my career. When the audience likes your film, it’s like a personal statement. You take it in your heart.

Would you consider directing your daughter, Susan Lyndon, who has since become a household name? In therapy?
We have always separated our family life from our career. Her father and I have a very strong character and she considers it an honor to be single. We respect it. But first of all I am a mother. I am so proud to hear so many compliments about her and incredibly happy to see her flourish in her passion.

Temporary connection history, by Emmanuel Mouret. It was released on September 14. A retrospective of the films of Emmanuel Mouret, until September 15, at the Paris Cinema. cinematheque.fr: