Time of Love: This actor lost 10 kilos to play this movie

What is it about? 1947. On the beach, Madeleine, a waitress in a hotel-restaurant, the mother of a little boy, meets Francois, a rich and cultured student. Among them is obvious. Providence. If we know what this young man wants to leave behind, we will discover in time what Francois is trying to escape by mixing with Madeleine’s fate…

The secret of this movie will surprise you! Le Temps d’aimer with Vincent Lacoste and Anais Demoustier is in theaters

10 kilos less for Vincent Lacoste!

In Le Temps D’Aimer, Vincent Lacoste plays François, a brilliant young man who falls in love with women and men. At a time when homosexuality is a crime in France, the actor lost 10 kilos to play this character who lives in fear:

“Cattel Quillevre wanted me to lose weight. I avoided starchy foods, bread and alcohol. It was quite drastic”, he recalls. Anais Demostia adds: “He lost a lot of weight for the role. Vincent really likes to eat sausages and drink alcohol, so he put in a lot of effort!”

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The birth of the project

The starting point of Le Temps D’Aimer originates from the story of Cathel Quillever’s grandmother, who constantly made people feel that she was keeping a secret within herself. The director also always knew not to ask her questions and respected her silence… until someone outside the family, in this case her partner, helped her discover the truth: “During the occupation, she had a relationship with a German soldier, with whom she became pregnant. She became a single mother at the age of 17.”

“She met my grandfather four years later, on the coast of Brittany. He came from a much richer social background than hers. Against her parents’ advice, she married and adopted a child. The true paternity of this child was a mystery. I discovered it too late. My grandmother was over eighty years old, and my grandfather a long time ago. He was dead. Their relationship and his secret is always in question… So it’s a very personal starting point, and then the fantasy took over completely. And the script became fiction…”

Mower injury

The trauma of cutting is fundamental to Madeleine’s journey (Anais Demostia). Katell Quillévéré looked through many archives around the Mower to think about how to represent this moment in fiction. The filmmaker quickly realized that he could never match the power that emanated from these images. He confides: Besides, I no longer wanted to reconstruct them. Together with the editor of the film, Jean-Baptiste Morin, we decided to create a story from all the archives that could exist in the archives: French, American, English archives. ..”

“It became essential for me to immerse my fiction in this reality. It seemed necessary for the audience to really understand the trauma that these acts of immense violence represented. They were generally not sufficiently thought out, processed by our society. Also, most of the pictures I show have never been seen by anyone. From there, the importance of my film became clear. What happens to a woman once “she has experienced this? Once she returns home with a shaved head, deeply humiliated. It is from this “after” that fiction begins.”

“Le Temps d’aimer tells the life of a woman, Madeleine, who has experienced this trauma. It imagines her emotional, sexual, and social journey towards resilience. Because Madeleine’s lust for life always prevails.”

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Prove yourself

In preparation, Katell Quillévéré created a documentation platform for the entire film crew, with photos from many periods. Actors could, for example, have access to images of chateaux, jesters, dance halls… to get a sense of the atmosphere of the place and the period. Anais Demostia recalls: “I also looked at a lot of pictures of women shaving. They’re very strong, very moving and very harsh images. I didn’t need to do any further research.”

“To understand a character, I always try to understand as well as possible, to analyze all the movements that make up his journey. I really got to work with a script that was very well written.”

Three love scenes

For Katell Quillévéré, the most successful sex scenes in cinema are those that have a strong narrative stake, or that manage to express some ineffable order in the characters. He explains: “In the three-way love scene, Madeleine and Françoise’s complicity is expressed as never before. They take risks together to overcome their sexual differences, but fail.”

“In the urinal scene, I wanted François to appear with us in the film, in a state of absolute abandonment, as if he was finally himself in the arms of this young man…”

Anais Demostia continues: “These questions cannot be avoided in Le Temps D’Aimer. There is disappointment in these two characters. The main point of the film is their sexual development. It has to be said concretely, physically, with their bodies. The erotic charge is important. Quite modest, sex scenes rarely happen in cinema for such a long time. His partner Vincent Lacoste adds:

“The sex scenes were very scripted and choreographed. They made it clear what they were saying. We talked about it a lot beforehand. The main thing was that everyone felt comfortable. They’re intense and at the same time, we’re not talking. I can’t see anything.”