At the cinema La Folie: “Fractures caused by disease in the family”

At the cinema La Folie: “Fractures caused by disease in the family”

Just a few months after “Supremes”, Audrey Estrugo will present a new feature film “Fol La Folie”. A powerful and very personal film about the relationship between two sisters, one of whom is schizophrenic. Meeting with the director.

Fol La Folie – Directed by Audrey Estrugo

Currently in cinemas

To celebrate his mother’s birthday, Emmanuel comes to the childhood home to spend a few days. There he discovers the past and the memories that reign there, but also his older sister, whose psychological instability very often affects family relationships. No one doubts that this family celebration will quickly get into an unexpected situation …

AlloCiné: Can you introduce us to “À La Folie”?

Audrey Estrugo : To madnessvsIs a film that fits in with what I did The usual story. A self-produced film that we shot in just a few days, which raises real questions about the state of film funding today. There is a real issue to be made about this … his projects, which are either doomed to exist in this way, or doomed to no longer exist at all.

I wrote the script in 5 days and shot it in just a few days …

The story of this film is very simple: in an acting course I led, I discovered a young woman who had never acted and who seemed unusual to me. From there arose a desire to work with him. Leading one to another, this film project has arrived, which is my first ultra personal film. I did not expect such a film at all. It is almost a camera in a family home focused on cracks, disease-induced fractures in the family, and a relationship between two sisters, one of whom is schizophrenic. I wrote this script in five, ten days and we shot it. A month later the film was shot.

Which is very fast …

Yes, I needed to challenge myself and shoot especially with new employees. I really wanted to update myself, to read my movies, my desire, to know exactly where he was and, above all, to work with whoever I wanted, because the first problem we do as a director is that of the chosen actors. If you do not immediately want to use the “bank” name, you have no choice. It is difficult to combine the desire for art with industrial logic.

Can you tell us a little bit about this chosen casting?

There are three girls and three boys in my film. The three girls are Belgian: hence, an actor unknown to the battalion, who has all the plans and who is called Virgin van Robbie (bottom right). Here is Lucy Debay (bottom left), who is a little better known here, and Anne Cousins. On the boy side I have Benjamin Sixu, Theo Christine, who is my little big one from NTM, and François Creton, Lola’s father. It was this freedom I was looking for. I also worked with cinematographer Eric Dumont, who recently filmed the films of Stephane Brize or Au nom de la terre. Then it was just an updated team with people whose original job was not necessarily there. There were twenty of us with the actors.

Thinking and making movies is very disturbing today

We really need to prove that today’s thinking and filmmaking is very disturbing. When you present a project today, even for a director, you have to sell, sell the film before you write. Your film should be a pack, a truck with keys and everything that comes with it. The line has to be crossed, it has to be obvious from a commercial point of view: either the copyright film is to be presented at the festival, or the film is to be shot. For me, we are completely in a drift. We just forget the essentials, that is, to say why we are there. Also, needless to say, we have things we can not touch.

Do you have an example of an inaccessible topic?

I had a project on a nurse who turned out to be treating a terrorist. This movie, we never managed to edit it because there was a terrorist there. The terrorist is over, we have no right to talk about it anymore. While this is a film, I would say ‘Iranian’, which calls into question the world in which we live, the relationships between us, the human film on a human scale. There are many topics that we no longer have the right to discuss because they are considered unattractive, non-commercial. And at the same time, if we never do them, we are sure we can never prove otherwise. Finally, a film like I did myself, like Hafsia Hertz made “You Deserve Love a Little Before” and as I did The usual story, Lots! Then there are very few who manage to come out, but there are plenty of films that are made that way.

There is a desire to make films

It shows that there is a desire to make films. We are lucky now with technology, we can do a lot, but more and more locked access to light. Cinema is very difficult right now. It was with the money I left in my box and with the help of Damned that he distributed it The usual storyThat we sponsored the film. The process is part of the approach: walk fast. That’s what we can no longer do today, because when the funding for the film goes well, we expect six, eight, ten months. For a very long time now, the desire to create has gone a bit, should be maintained, and here I am talking about a configuration where everything goes well. It takes a year and a half, two years to make a film.

You made movies, but you also created TV series, heroines, with a real desire to produce more freely. hasDo you want to continue doing this?

Yes, of course there is a lot to be said for what we can not say in the movies, so we can say the same in the series, especially since we now have a choice of broadcasters. I currently have preliminary projects on this topic that I need to pursue before I talk about it. The main thing is that things are moving forward, so … at full speed!

Laetia Ratane interview in Paris, September 25, 2019

Source: allocine

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