Translated interview (with omissions)
The female gaze: An interview with CĂ©line Sciamma
Michael Ranze, filmdienst.de, 2nd of November 2019
// Additions or clarifications for translating purposes are denoted as [T: âŠ]. A couple of omissions in the first interview, but I provided links to existing articles with more information. Iâve also added extracts from two more interviews with CĂ©line below. Aaaaand⊠I believe this is it for German Portrait interviews! đ
//
A conversation with the French director about âPortrait of a Lady on Fireâ.
The French director CĂ©line Sciamma already garnered international attention with her debut film âWater Liliesâ. She is now a regular at the big film festivals. Her recent film âPortrait of a Lady on Fireâ is a multi-layered love story between a female painter and a young noble woman, whom she has to paint.
Interviewer: Your first three films âWater Liliesâ (2007), âTomboyâ (2011) and âGirlhoodâ (2014) are about the coming-of-age of female characters, about their search for identity, including sexual identity. Where does this great interest in the world view of young women come from?
CĂ©line Sciamma: I was lucky enough to make films as a young woman and to talk about things that I know about and understand. Thatâs why my first three films were closely connected to the childhood and youth of the heroines, and their female identity. Iâm also pursuing the same theme in my new film âPortrait of a Lady on Fireâ, this time with grown women. In the other films there was always the desire for love, which is also self-discovery. Love is fully lived out this time â this creates some kind of dialogue. I am 40 years old â I now have to talk about these things. (laughs) [T: Also see here, here, here or here about her previous films]
I: But thereâs also the theme of female solidarity, especially in âGirlhoodââŠ
CS: Yes, indeed. The more my work develops, the more it deals with the theme of friendship, sorority, but also the ability to enjoy life to the fullest. This also includes solidarity, these small islands that women can establish together. My films open up the space for this idea, this is much more radical in âPortrait of a Lady on Fireâ than in my previous films.
I: But you also wrote the screenplay for AndrĂ© TĂ©chinĂ©âs film âBeing 17â, where the two main characters are adolescent boys.
CS: Thatâs the same kind of work for me. Itâs about creating characters without objectifying them, and to find access to their experiences. The female gaze is not only about filming women. Itâs also about being aware about the images and representations. You have to pay a lot of attention, when you are inventing or composing something. Otherwise it becomes conventional, or you create characters that are empty. That applies to men and women. The male gaze is damaging for male representation in my opinion. I thought that it would be interesting for me to do it differently.
I: How did you work together with André Téchiné on the screenplay?
CS: This was the only time in my career as scriptwriter that I worked on the script with someone else. I admire TĂ©chinĂ©âs work. My first cinephile emotions are linked to his films. It was therefore a lot of fun to enter his matrix and get access to his thinking, on the one hand to participate, and on the other hand to support his goals. The fact that he wanted to do a film about youth motivated me to make him a young film director. [T: Also see here about her work on âBeing 17âČ]
I: He is now 76 years old.
CS: Yes, exactly. He was 73, when we worked together. But it never felt like there was a huge age hierarchy between us. I admire him very much, he really fuelled my ambitions, we have a very intense relationship.
I: What do you like more: writing scripts or directing films?
CS: This has changed. I always liked the balance between the two, also the fact that I didnât always have to follow my own wishes, but could immerse myself in another logic and worlds, and distract myself. But over the years I realised that I donât want to lose any more time. Itâs of course not a waste of time to work for others. But you sometimes have to put up with long project delays. For the first time in a long time I donât have any screenplay assignments, and I like this feeling. But you never know what may happen. I was really blessed with some projects. For âMy Life as a Courgetteâ, it just gave me joy to write a film for children. If something like that comes along again, I would do it immediately. [T: Also see here about her work on âMy Life as a Courgetteâ]
[T: Omitted Q&A about the reasons why she did a period film, but see here, here or here]
I: What are the challenges when you recreate a period, which was so long ago?
CS: You have to do a lot of research, especially about the situation of female artists. You really have to dig deep, because no one wrote a thick book on it. The other challenge was the collaboration with others. That is the beauty of cinema. The costume designer does research about that period, so does the set designer. This is my third collaboration with Thomas GrĂ©zaud (he also worked with Sciamma on âGirlhoodâ and âTomboyâ, editorâs note). He always suggests something, which is then incorporated into the film. When it is about historic films, then accuracy is very important. But sometimes itâs also interesting to consider what is not in the picture. For example, there is not much furniture. We built the few pieces ourselves, out of wood and with cotton. It was more about believing in cinema, in action, in clear lines.
I: So you work closely with the costume and set designer?
CS: Yes, there is a close coordination. I wanted some kind of uniform for the characters, for example. We then looked at various costumes. They were not supposed to be out of silk but rather heavy fabrics, which restrain the actresses, force them into their roles and at the same time describe the sociology of their characters. I also wanted pockets for the costume of the female painter, even though others told me it would be anachronistic or too modern. Fact is that pockets existed back then and that they vanished in the 19th century. The âfemme bourgeoiseâ [T: middle-class woman] was invented, and fashion went backwards. I liked the idea of this silhouette, which was even accurate. That is our job: We try to give a presence to these women from back then.
[T: Omitted Q&A about how the actresses were recruited, it mentions the circulation of gazes between the three, the physical and psychological contrast between AdÚle and Noémie, Céline describes them both as strong, intense, determined and courageous actresses, she also wanted to create an iconic and fresh couple; see here or here]
I: You spoke about the âcirculation of gazesâ. Between the actresses there are short and long gazes, shy and curious ones. How did you conceptualise this âballet of gazesâ?
CS: That was already in the script, especially the rhythm of the gazes, when they look at each other. The actresses were very much aware about that. Itâs not about dictating what they have to do. But itâs rather a way to start the conversation, to show their connection or communicate their intentions. They have to âdanceâ. I call it a collection of gazes. As you already said: We have this gaze, we have that gaze. It changes with every scene. And it shows how good the actresses are. If itâs in the script, then the actresses are very, very good [T: this was weirdly worded]. Otherwise they might suggest something that doesnât fit. You have to see straight away that they desire each other. And itâs brilliant how they do it.
I: I liked the beginning of the film, when Marianne jumps out of the boat to retrieve her large case. A woman isnât supposed to do that, so it shows that Marianne is different than othersâŠ
CS: And the film also shows that: She is not a woman who follows the rules. She jumps into the water to get her things. The important thing is: The film also jumps into the water. The camera also dives in, we swim with her. Thatâs two pieces of information: This character will be an active one, and the film will join this jump. [T: Also see here]
I: There are only women on the islandâŠ
CS: No â we just donât show the men.
I: The island seems like a refuge or even a utopia.
CS: Yes â thatâs true. In cinema, it is about what you decide to show in the picture. I didnât want to show men, because then it would have been about the pressure and dominance that existed back then and still does. We now look at what is possible, at the potential of the women. You can also call it utopia, but these are not imaginary futuristic dreams, it is based on life experiences, maybe on a higher level, if it was more based on reciprocity. And political utopia â there has to be a place, where the economy doesnât determine everything, where there is no sexism or racism. These places exist, in families, communities, maybe in a city. This culture has to grow. This utopia arises from experiences that we make and transform to ideas.
[T: Omitted Q&A about the cinematography of Portrait, but see here or here]
Interview with director CĂ©line Sciamma (extracts)
Sportello745, moviebreak.de, 9th of October 2019
[âŠ] Interviewer: In your debut film âWater Liliesâ you contrast the uncontainable, awakening hormones of the main character with a perfectly synchronised swimming team. In which way does the landscape characterise the emotions in your new film?
CĂ©line Sciamma: In Water Lilies, it was about whatâs on the surface and whatâs hidden below. I guess, even with synchronised swimming itâs less about control but more about what you donât see and the effort you have to make underneath. I donât think I rely on symbolism too much, I get often asked about the meaning of, for example, colours. Thatâs not really how I think, I try to embody certain things and be less metaphoric. But maybe in this film the tension is between love and art and beauty. The landscape does fit into this tension very much. [T: Also see here or here for Water Lilies]
I: Did the paintings that you researched have any influence on the language of the film, and if yes, which paintings in particular?
CS: Yes, they did. It was especially the self portraits of female painters, because these pictures were quite different from what you would expect. There was a specific painting, which was actually not from the 18th century but from the 17th century, it was from a woman called Judith Leyster, a [T: Dutch; also see here]. Her work was misattributed to her husband. In the picture, you can see her painting, she smiles, you can see her teeth. I have never seen something like that. It helped me to be courageous, which means it made us invent something new and not be scared of being unconventional. That is exactly the kind of female contribution to art history: When Virginia Woolf writes, she reinvents literature, she revolutionises it [T: also see here or here]. When Chantal Akerman films âJeanne Dielmanâ, it is a revolution for cinema [T: also see here, here or here]. The voices of women are not only limited to âHey, we have a little story to tellâ, but it is always about reinventing art. It is about creating something new instead of the same old. [âŠ]
I: When did Marianne paint the eponymous âPortrait of a Lady on Fireâ in your opinion, shortly after her encounter on the island or many years later?
CS: I think, she painted it a couple of years later. That is her memory. When I commissioned the painting, I originally wanted to have 20 frames, maybe even that Marianneâs whole work is based on this moment. A kind of âusual suspectsâ situation, where everyone reappears. But this moment [T: at the bonfire] is definitely the matrix for what she will do next, and I think, [T: the painting] was made years later [âŠ].
I: At the end of the film the love story between the two is âconcludedâ. On the one hand, the ending is bittersweet, because the love has been immortalised in a painting. On the other hand, it is also quite sad, we see HĂ©loĂŻse crying. It felt as if this great piece of art, which tells the story of the two women, can never be exchanged for the love that was lost. What do you think?
CS: We tried to spark a dynamic where the end of the love story doesnât mean that they spend eternity together or die. It was about getting rid of the sentiment that the victory of love is mutual possession. Their love for each other made them curious about love itself and art. For me, the last scene addresses how art deeply affects us and how love makes us more emotional towards beauty. [âŠ] At the end, HĂ©loĂŻse feels the music she would never have felt if she had not loved. Love as curation for being curious about the future, about art, about beauty. That for me is a positive dynamic, even though it is heartbreaking, which was on purpose. At the end, both women are more open, and that is the dynamic of emancipation, which I love. And it is positive to talk about it.
Sciamma: âI want to show images of daily life that are missingâ (extracts)
Patricia Batlle, NDR.de, 29th of October 2019
Interviewer: You had a very lively screening of your film âPortrait of a Lady on Fireâ. There were standing ovations from the audience, and there was an animated conversation with you and the lead actresses AdĂšle Haenel and NoĂ©mie Merlant. Were you surprised to be so warmly welcomed in Northern Germany?
CĂ©line Sciamma: Itâs funny because you are sometimes cautioned that other countries have a less welcoming culture, but not to take it personally. So you prepare for different types of audiences. But then the reception in Hamburg was really, really warm. It doesnât surprise me, because I believe that film is a nation, that film culture is unique and unites the viewers [T: PORTRAIT NATION FTW]. A cinema is sometimes like a country. I travel around a lot with the film and I feel the warmth, this fire in the cinema across countries. [âŠ]
I: You address topics like menstruation and abortion that are rarely shown in cinema â especially not in love films.
CS: Yes, why is that? That is crazy! This clearly is part of the pleasure of the film, part of its political intention. To show images that are missing, although these are images of daily life. Our story should put our audience on an emotional rollercoaster, where the images have an unusual relationship with the story and are surprising. That is the power of new images.
I: Four women play an important role in your film, men are on the sideline. The names of the women stand out all the more. The self-confident painter is called Marianne. The name is synonymous for the Republic of France â was this on purpose?
CS: I have to admit: I didnât think about that. I didnât think about the Marianne of the Republic, when I wrote the script. The names of all my characters are related. In my debut film âWater Liliesâ my main character was called Marie, in âGirlhoodâ she was called Marieme, and here she is called Marianne. Itâs like a thread that runs from film to film. But itâs true: It is France! I like the fact that you noticed this. (laughs) [âŠ]
https://www.filmdienst.de/artikel/38732/interview-celine-sciamma-zu-portrat-einer-jungen-frau-in-flammen
https://www.moviebreak.de/features/interview-mit-regisseurin-celine-sciamma/item?item=2
https://www.ndr.de/kultur/film/Sciamma-ueber-Portraet-einer-jungen-Frau-in-Flammen,frauinflammen106.html
Picture sources: [1], [2]
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