THEAure Calamy is good for morality. When it makes you laugh and when it moves. And in All the love you need The film directed by Anne-Sophie Bailly (Mon inseparable It is the original title, From 19 June to the cinemaafter a transition to the last Venice exhibition) does both things.
Mother of Joël (Charles Peccia-Galletto), a thirty year old with cognitive disabilitieswho in fact monopolized his life until then, Mona is faced with a radical change: Joël, not only announces to her that she has fallen in love with a colleague, but also that the couple awaits a child. Joël will leave, he will go to live with his partnerin the future of Mona there is a good dose of more freedom, but there is also fear, bewilderment, guilt.
Graduation, you often interpret women who have a level of difficulty in life higher than the norm. Perhaps more than choosing these roles is she to be chosen by the roles themselves?
Laure Calamy (Laughs loudly). True, but interpreting a heroine to whom everything is fine would be a boredom. Certainly there are the common points with other films that I have interpreted, with other mothers with complicated lives. But That you are interested in heroines, mothers or non -mothers, it seems to me a recent fact. And encouraging. And then I liked that the director came from a path of actress, and also that he was a young director. I liked that there was no morale in the film. I usually tend to tell your age, but Anne-Sophie is a young woman who has built a role for a woman of my age. We know the male hero well, talking about a heroin and middle -aged is neither easy nor obvious.
Laure Calamy and Charles Peccia-Galletto in all the love you need.
Anne-Sophie Bailly I wanted to work with people with a disabilities who live it in their lives, I didn’t want actors who played. I didn’t want pathos. They are people who suffer, but who do everything in order not to show it. They are pudic. Of course, every now and then they explode. But it is necessary, it is good. Graduation was the key, in France it is a certainty: he guaranteed the solidity of the film with his presence.
Cinema and theater as a cure
Graduation, his mother is a psychologist, his medical father. Grow in a family like your door in the direction of care?
Laure Calamy Both my parents work in healthcare. But the first time I understood that life offers us the opportunity to understand what the ability to do with good has been in a theater, a place that made me the effect of a cure: He took me to the heart, he turned me like a glove. I lived it as something that can save why It offers subject to think, to dream, and allows you to share an experience in a dark room where everyone vibrates together. It is extraordinary. I remember that I had been very impressed by the phrase of an actress: “When I have to interpret a woman who lost a child I think of all the women who lost a child”. He had been able to find that verticality that allowed her to talk about humanity, Whether it is the monstrous, the unacceptable, or joy and virtue. Art in this has an indispensable role. The mystery of catharsis passes from there. And it is something that humans cannot do without. However, yes, the cure has always been at the center of my life.
Laure Calamy in all the love you need.
Anne-Sophie Bailly I love the protagonists of my story too much to reduce them to a theme. I didn’t want to make a subject movie, a handicap movie. I wanted it to be a film about emancipation of two people, the mother and son. The universality of the parent-child relationship is a dimension that is of everyone, even if the film tells a particular case. And all human beings have limits and handicaps.
Working with a director when it comes to shooting an intimate scene changes the cards on the table?
Laure Calamy There is no difference. Every author or author has its own personality. But as for the sex scenes, perhaps the fact that we have a common experience changes things slightly. On the set of this film I perceived the desire to build the scenes to go in the direction of female pleasurethat there was a slowness, a sensitivity. We are proud of what we did, we managed to decide together.
Was there an intimacy coordinator on the set?
Anne-Sophie Bailly There was and there were also counters -free for certain gestures. But the coordinator worked Only on technical issues: the protection of the set, who had access to the images. But it was useful to be able to talk about it concretely. Then you can enter the idea of the scene, but the technical solutions were useful.
Laure Calamy These are scenes that have allowed me to do a true mental lifting. With Geert Van Rampelberg (the actor who plays the man who has meets and with whom he has a fleeting relationship that perhaps could become something more, editor’s note) We immediately found the right way: we are both from the theater, we move as dancers, We use our bodies with wisdom and also with modesty. It was a very nice mélange, there was little need to speak. Something electric has passed between us. Knowing how to choose the right actors is already half of the film. We are people, the chemistry automatically triggers. Or not.
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