3 years ago


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SYNOPSIS Vassili, an

SYNOPSIS Vassili, an ageing prostitute, who suffers from criminal drives, finds an unconscious young man in the Bois de Boulogne and puts him up at his place. Both men, now accomplices and lovers, prostitute themselves and get used to robbing their customers. However, little by little, the noose tightens. After threats of retaliation, the couple has to flee from Paris. The runaway begins.

INTERVIEW WITH GAËL MOREL DARKNESS IN TECHNICOLOR “ Even accomplished, evil retains some unreal quality; perhaps this explains the simplicity of criminals; everything is simple in a dream ” SIMONE WEIL J G : Vassili, the serial killer embodied by Stéphane Rideau, kills without any explanation. That was already the case for the character of the infanticidal mother in your previous movie, New Wave. G M : I try not to limit my characters. A character who kills is unfathomable, he is undetermined, as it is often the case in my movies. That is why, most of the time, my dialogues are rather factual than introspective. - Psychology would be “the hero’s tomb” as Cioran puts it? - My reference is Brett Easton Ellis and new American literature in general: in Dennis Cooper’s work for instance, the absence of past for the characters does not destroy fiction, on the contrary. They are heroes, not because they are easily solved or positive, but because they are following an itinerary. In the greatest model of literature, Crime and Punishment, Raskolnikov’s motives for killing remain unknown. What Dostoïevski explains is what happens within him after the crime, its consequences If a golden rule in life is to leave an incomplete image of oneself, I like it to be the case for a character’s life. In movies such as Bonnie and Clyde or The Honeymoon killers, not knowing anything about a character stimulates fiction. This share of darkness allows the audience to find a refuge, to project themselves – not that I want to turn them into an active audience but it’s the best way to experience empathy for a hardly acceptable character. And this is the opposite of gratuitous violence. SEXUAL APPETITE - But it could be perceived as such. Don’t you fear that by showing a homosexual , who is both a serial killer and a prostitute, and whose motives you do not explain, you will be blamed for displaying a negative image of homosexuality ? - I consider that homosexuality belongs to the sphere of sexuality and not to the social sphere. In movies, and in television programs (Plus belle la vie, Avocats et associés – French TV shows), it is experienced by men who work, who go home at night, etc. Whereas, even if that is the case, their sexual reality, where TV can never venture, is very different - countless nightclubs, places to flirt… I designed my movie as a reaction against the normative representation of our present society, a representation to which I bring a sexual answer. I suggest to a homosexual audience that they identify with a villain. No woman would agree to be showed in a movie in such a domestic way But I never show this sexual desire in a negative way- the scene of the “threesome” at Vassili’s is the happiest sex scene of the movie. - Every character in the movie has a problem with age - not only the killer, and not only homosexuals since Anna/Béatrice Dalle is having affairs with teenagers. - This has often been the case in my movies. To take a single example, in After him, Catherine Deneuve, by losing her son, also loses her youth, and starts befriending post-teenager young people. In Our paradise, the homosexual circle, in which you are perceived as old at forty, enables me to deepen that idea. It is indeed a circle in which whatever your social function is, you don’t have family responsibilities that make you age de facto. There, sexuality is very adolescent and it is one of the reasons why youth is lusted after so much. Lusted after and not necessarily respected, a fact for which Vassili, who hunts and judges, puts the blame on his predators. One of the essential cues of the movie, in my opinion, is the very simple one uttered by the perverted doctor : “An old

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