The French director unpacks why intimacy is always intertwined with politics
was published in 2000, hanging in galleries around the world today., the writer and director behind a new film version of. The feature, which picked up the Golden Lion award for best film at last year’s Venice film festival, is the sum of many parts – at times traumatising, disheartening, but ultimately necessary and still relevant, animating not only Ernaux’s words but Rego’s pictures too.
The director’s shooting style favours long shots and few cuts, which meant incorporating a choreography that saw the process on-set play out “like an orchestra”. Rejecting formal rehearsals, Diwan instead preferred to find the scene together she says: “I strongly believe that if you try to make the movie before doing the movie, you will lose something. Of course there’s a risk, but that’s part of the journey.
This sense of loneliness is paramount, and engineered in part through the film’s earlier scenes, where Anne and best friends Brigitte and Hélène – a trio so close they share the same piece of gum – hang out at the cafeteria, the local disco and the park. “There are methods,” remarks Anne, as they discuss the abstract idea of an unwanted pregnancy one afternoon. “Never say that,” snaps Brigitte, “not even as a joke.” When her friends eventually learn of her situation, they desert her.
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