At the microphone of France Inter, Rodeo director Lola Quivoron turned to the controversy that arose during the presentation of her film in Cannes: “The controversy will quickly disappear, the film will remain.”
On September 7, a few days before the release of the rodeo, the French director and screenwriter Lola Quivoron was a guest. France Inter. Among other topics, he was asked about the controversy that marred the presentation of his film at the Cannes Film Festival last May. The proposal made in the interview caused a response in social networks and is the subject of political recovery.
“ Doesn’t reflect what I think. It was emphasized. It’s been twisted a little bit all over the place, caricatured, a lot, and again, that’s just one side of the story. (…) I understand that the proposal could have been shocking. Recorded in a montage, in a tense flow, continuously. It’s almost arrogant because I’m in the skin. I am talking about police brutality. I think this staging caused a lot of controversy.”
“Since then, I think the responsibility is shared, Konbin, of course, my word too. He continues. But there is still an adverb often that reflects the discourse. Not because I celebrate this reality that I forget everything that exists, and especially what you just mentioned. News every two weeks.”
Lea Salame also asked Lola Quivoron how she felt about the controversy. “I want to return to cinema. I wrote a great text because it is very important to me. I took the time to write it precisely to get some distance. In fact, you can’t react to a confrontation like that. We owe it to you to take a little more time to gain distance, to be in your thoughts. I wrote this text, and it really recontextualizes the controversy. I invite you to read To really understand where it came from and especially my perspective on it.”
Bring it back to the center that this is cinema
“The news, the overload, the saturation of this news in the news related to my film tends to make invisible the most important thing: the bitumen of the cross is the background of my film, it is not the subject of my film. It’s not the riders. It’s interesting to bring back to the center that this is cinema, the fact that this is mythology, this is epic, this is fiction, this is written, and above all, this is about a woman’s career. We don’t want to forget. That. The argument will disappear quickly, the film will remain.“
See the interview France Inter Complete:
Below, we reproduce part of the text that Lola Quivoron invites to France Inter, published on July 25 Le Parisien / Today in France.
“I am a film director. I am neither an investigative journalist, nor a columnist, nor a political figure. I’m not used to media coverage. The controversy caused by my first feature film, Rodeo, at the Cannes Film Festival taught me that every word spoken in the media carries an undeniable responsibility. From this I understand that the arbitrarily emphasized remarks about the police in Konbini’s video may have been shocking. This sentence taken out of context has caused a lot of misunderstanding and violence. The violence was received by police officers who felt targeted. Violence received by families of victims of accidents on public roads. The abuse I received myself with daily volleys of abuse. Sexist and racist messages and comments instrumentalizing my film saturated the networks.
“It all started with this taped interview and retweet from the most popular account in the facosphere, which was accidentally taken over by local and national elected officials in the middle of the election period, then by police unions, some of which are affiliated with the far right. . My remarks were caricatured, over-interpreted, extrapolated in articles and television by journalists who had not seen my film themselves. In Konbin’s interview, journalists ask me about cross bitumen by deleting the questions. My phrase accidents are often caused by policemen chasing riders and pushing them to their deaths, deliberately staged as a slogan, completely chopped, chopped and reassembled. This type of editing transforms the meaning and produces the speech in a tense flow without any real arrangement of arguments, which makes my speech shallow, brutish and aggressive. There is no depth, no development, no meaning. This is the content of the shock.“
“I am not blaming the police, I am just making a simple observation. Yes, there are accidents, and I’m not making generalizations about the police alone. All I know is that during this famous urban rodeo that everyone is talking about, riders have been injured or killed by police chases. Adverbs of time often interrupt discourse. Not because I specify this reality, I deny other types of accidents: collisions, mowing down pedestrians, tragic falls, etc. I spoke as an observer. Police misconduct is not a topic I discuss at the rodeo. My film quickly became associated with urban rodeo, wild rodeo, terms that describe marginal, dangerous practices that occur on public highways, between cars and pedestrians. But I don’t run any city rodeos. You don’t see riders riding through town in my film, or a police chase that never happens.“
The full text can be found on the Parisian / Today in France website.
Lola Quivoron’s Rodeo opens Wednesday, September 7th.
The pitch: Julia lives on small tricks and has an all-consuming, almost animalistic passion for motorcycles. One summer day, he meets a gang of cross-country bikers and infiltrates this clandestine environment of mostly young men. Before an accident weakens his position in the gang…
Source: allocine
Emily Jhon is a product and service reviewer at Gossipify, known for her honest evaluations and thorough analysis. With a background in marketing and consumer research, she offers valuable insights to readers. She has been writing for Gossipify for several years and has a degree in Marketing and Consumer Research from the University of Oxford.
