Free Movement with Marina Foy: How to make a movie in the car?

The beginning is a comic story: after the call, Nurse Louise has a panic attack and can no longer get out of the car. And because the situation was not difficult enough for him, a young man, Paul, steals his car to drive in the direction of Cap Ferret. Inside it. This is how Freewheeling begins, which will be shown in cinemas from June 29.

The first feature film by the director of Didier Barcelona, ​​after the short film The End, the film is set at the crossroads of the road and the film of friends, with its two characters who are opposed to everything. But in the form of a camera. Moving. The starting point, of course, is eccentric, but which finds its roots in a story that happened to one of his acquaintances, the head of the psychiatric hospital department, at the time. “Only a few hours”.

“He was parked on the side of the road, on the way to work, he could not get out”– Says the director and screenwriter in the press team. It turns out that he experienced harassment in his professional life. The reasons for Louise (Marina Foyce) crack are not the same and they will be revealed during the trip. But it is not impossible there, among other things, to challenge the wear and tear of caregivers since the onset of the Covid crisis.

In front of the actor we are looking forward to this summer as Bestas and the Year of the Shark, we find Benjamin Voisen (an actor when he had not yet filmed François Ozon Summer 85). And the car, the main scenery of the film, which the great Barcelona even considers the third character, so much so that it was not easy to choose: “For the sake of realism, I first thought of a small car: in the provinces, a nurse would rather drive a Twingo or a Clio than a Volvo.”

Journey on screen

“But I immediately told myself that I did not want to shoot inside the twingo … So, look for a beautiful car, quite a big car, vintage, photogenic and not expensive, in this case a Volvo 240 wagon. We wrote that it was his father’s car. “ According to the director, the choice turned out to be less difficult in the end.

It was really impossible to turn around while the car was moving, otherwise the whole sound would have to be further synchronized due to the engine noise. The solution then could have been a “Car Camera”, Or on the platform on which the car is placed. But “These are not ideal conditions, we are far from actors”Explains the great Barcelona, ​​who therefore chose the interior of the studio with a dialogue, with a wall technique consisting of LED screens to represent the exterior.

Eventually, while filming like Marina Fois and Benjamin Voisin, you too will have the feeling of traveling thanks to the screen, in the rooms that feature En roue libre.