-In your opinion, what is the relationship between cinema and truth?
To claim that cinema reveals some measure of truth about the subjects it addresses would, in my view, be idealistic. It is an art form capable of denouncing or imagining, but also of offering conjectures or proposals. Many films convey a political stance specific to the director—and are thus inherently biased. It is difficult to remain neutral regarding the subject one chooses to depict; there is often—or indeed inevitably—a desire to convey a message, an opinion, or simply a perspective on a situation. Yet, the film does not necessarily hold the truth; it merely presents a personal vision or an apprehension about the near future.
-What kind of change do you hope to inspire in someone who experiences your art?
In my films and screenplays, my primary aim is to convey a message, but I also want the viewer to reflect—to become aware of certain situations and ask themselves what they might change in their own lives, or to realize that people around them are experiencing circumstances like those in the film and consider how they might help. My goal is also to spark a debate, allowing everyone to share their views and discuss how to bring about change. I am very fond of cliffhangers; creating that sense of suspense—that mix of frustration and a burning desire to know what happens next, or even to imagine it—awakens the viewer’s creativity and fosters discussion. My work aims to open minds and encourage dialogue, while also shedding light on realities that are rarely seen on the big screen, whether because they are taboo, as with my film Mauvaise Influence, or simply because the topics are often avoided.
-What does the word future mean to you?
The concept of the “future” is vague to me. Ultimately, anything is possible. Of course, I hope humanity will wake up and find solutions to avoid descending into chaos. I tell myself that new generations will manage to turn things around—finally satisfying everyone and avoiding the repetition of our past mistakes—yet I am sometimes very pessimistic about the fate of our world. I believe that as long as we remain under the control of people over the age of fifty, we will stay trapped in a self-destructive society. Everything needs to be reshaped and rethought if we are to set things right and regain our balance. As for cinema, I hope audiences will continue to show up, that we will be able to speak out or share our perspectives while maintaining a certain freedom, and that those who cannot do so today will be able to tomorrow.
-Briefly describe your creative process. How do you select the ideas that eventually become a screenplay?
It might seem strange, but most of my screenplays—as well as my novel Le souvenir de l’Homme—originate primarily from dreams. My dreams and thoughts are highly visual and cinematic; I can easily envision specific shots and framings I want to capture on screen. Fortunately, I am able to remember them—not necessarily in their entirety, but enough to build a complete story. Of course, I sift through these ideas to ensure coherence, but once I have a story in mind, I need to get it down on paper—almost as if unburdening myself—to allow my creative process to continue. I can also come up with a screenplay idea while watching a program or reading the news; sometimes, a single word is all it takes to open my mind and give free rein to my imagination. I’m not particularly skilled at drawing, but creating a storyboard sketch—or even using reference images—helps me immensely in determining whether a screenplay is credible.
