Audrey Diwan began her career in literature, moved on to women’s publications and dedicated herself to cinema. 2021 is going to end a Lleó d’Or for the movie L’esdevenimentbased on the homonymous title by Annie Ernaux about her avortament. Diwan is a mother of two fills but he will also avortar, many more after Ernaux and sense the angoixa of the clandestinitat. The last film he directed Emmanuellewhich will inaugurate the festival of Sant Sebastian I will be able to see Filmin in February. It is inspired by the film by Just Jaekin: “I won’t finish it, Jaekin’s film: it wasn’t the audience it was directed at.” That film was recently set and followed the plot of an erotic novel that had the title mateix, which is going to be published only under a pseudonym and will be censored at the end of its fifth century. In contrast to the success of L’esdevenimentin the case d’Emmanuelle the criticism has been devastating. Hi there are cinephiles who comment that l’Emmanuelle Diwan is not just the erotic and “desitjant” figure of Jaekin who is going to scandalize France, but what’s more he doesn’t cause anyone. The director felt that it was not the case, that she did not want to make an erotic film, but rather that she wanted to direct a period change.
Diwan is going to Barcelona as part of the Biennal de Pensament, to talk about Agnès Varda with the filmmaker Carla Simon. Li pleases AlcarrasI am interested in Simon’s cinematographic language.
Ask. It is made up of a Roman woman and a Lebanese woman, but it is French in terms of nationality and culture. How will you believe in the French language of any visitor?
Reply. Jo hauria d’haver nascut al Líban. The mother was embarrassed by me, but they are going to have to worry about why the boats came across the apartment. It was the Lebanese civil war. I came to France by chance, and so I wonder how my life would be if I crested Lebanon. Neither pare nor la mare em van transmetre l’àrab nor el romanès: volien que m’integrate a França. Vaig believed in a Lebanese family, both open doors and people entering and leaving. He seemed enriquidor, to me, but in the eyes of segons I noticed that there was a strange point in me that is not blurred here and there.
Q. He has written for women’s magazines. What will it imply, for you?
R. I have worked hard to see very different magazines, the first cultural era, very independent and radical forces. I have decided to take advantage of the opportunity to write about society in a women’s magazine. The environment that you will find in the editorial office will show many things; At that time we did not use the paraula sororitat, which made everything feel good, but it was good for the representation and the image that I showed in a women’s magazine. Hi there was a lot of mutual help. I would say that if here is the one who wrote us aleshores… people are crazy, because things have changed so quickly that the representation that is ugly of the fifteenth or twenty-first century has become outdated: whoever values us, the relationship amb l’altre, amb els homes, amb la beauty. Tot. At the time we believed we had a progressive vision that was similar to all reactionaries.
Q. What does the change to the cinema mark?
R. There was always volgut writing; The thoughtful entry into the novel, but the writing is moltes formed, and some allow it to live. Cinema is an ecosystem in which writing and the possibility of life are brought together. Cal guanyar-se life in some way. When I’m going to start publishing books I’m going to mistrust my mate, I’m going to tell me that it’s better not to link me to the author’s label. I will tell my editor that during any time I will not write for the public. I will be here.
Q. Why is she a reference, Agnès Varda?
R. Vaig veure Vagabond by Varda when she was very young, and the protagonist is someone who embodies very freedom. Vol ser lliure faces that it cost him his life, and he does not explain why. Això always has more interest, when we can cling to an idea without justification. Varda redefineix grans idees. S’arrisca and always look at the world from a lloc on no one expects it. Do you know the work that has happened on the legs? I let them wrap it. Agafa vegetables that are no longer beautiful and look at them in a different way.
TO Cleo from 5 to 7 Agafa l’arquetip de la cantant de varietats, que es como una petxina buida. I Varda ins diu: “We saw 24 hours in the life of this girl, in such a way that as much of the cinema she has changed and also has changed in the same way as the old one.” It’s a dona a qui jutgem. During the film, I fan sing a song that she has written, the sequence is my cape and from above Cléo begins to inhabit the music, she stops looking at it. It is inhabited by the certain woman who is dying. Varda films the moment when the varietal singer became an artist. For me it’s like the one who makes both potatoes, an other way of saying “this is an object that we play” or “això is an object that we play” and we will reflect together, go through a moment of life and see if we can see -the other way. Varda always has some displacement, projects a different look at things and illuminates them. Look, you sew them badly and we don’t know how to look at the beauty.
Q. The film L’esdeveniment, guanyadora del Lleó d’Or, is based on the book d’Annie Ernaux that carries the title mateix. How will you get to Ernaux?
R. I will arrive early in Ernaux, but here I will arrive late. When publishing any 2000 is going to be a failure; More is going to say she mateixa once that vaig anar-la a veure. I’m going to say that the journalists haven’t shown interest and that people haven’t gotten around to it. There is a lot of talk about the new film inspired by Ernaux’s book, but it will be difficult to get people to watch cinema. Els semblava dur, assisting an illegal avortament from the perspective of the girl. It was uncomfortable; I always look at being uncomfortable, to the point that maybe sometime I would feel comfortable (riu).
I wanted a film that questions eroticism in our society, but people expect an erotic film
Q. Why isn’t it just going to stick to the book, in which Ernaux makes references to the future, as she is a mature woman who wrote about the love of youth?
R. Because if you do this, the subject would be passat, a protagonist who looks in the rearview mirror. I am interested in explaining why this topic, that of l’avortament, faces a contemporary issue. I didn’t think the problem was part of the passat. When I started to write this film I was still wondering why I was going to come here, if France has a law that allows the gifts to be averted. For this rule of three we do not have any more films about the Second World War. I de cop is going to overcome Roe Wade… and here we see that what Simone de Beauvoir said is true, that each right achieves the gifts that retreat with each crisis. For now you have to pay your respects to the Constitution.
Q. What happened après, on the road that has carried L’esdeveniment to Emmanuelle?
R. It has been hard. Perquè l’èxit… I won’t write L’esdeveniment thoughtful in the Lleó d’Or. I didn’t want to be comfortable, and so I had the idea of seeing Emmanuelle in her love. The perill, the por i l’excitació are the guides. Why did I know that this film would be complicated, that it would contradict ideas; I knew it would be a bad rebuda, but això is not a sufficient reason for not fer-la. It is hard to dedicate yourself to a project with the press that will not fit in with the time. I tot i així, something in diu that I have to follow my intuition. The problem is that Emmanuelle is not an erotic film, so far. I wanted to see a film that questions eroticism in our society, but people have wanted to see an erotic film. It’s probably my fault.
Q. Gifts are often demanded for our sexual pleasure and design, lately.
R. Yeah? I have the opposite intuition. I believed that no one cares about pleasure. During most of the times the virtue of feminine pleasure has been validating the performance of the home. The orgasm of a woman goes to rate a performance. On a cultural level, emancipation is done little by little. I wrote about the donut, but I thought that the frigidesa of the Meva Emmanuelle is not just about the donut. Hi, there have been studies that point out that young people don’t even want to look at the world around them! We are in a postsexual era. In fact, we are very involved in our mateixos, and the contact with the other is not through the gaze, but through the representation. I grew up thinking about the look of the other, the incarnation that turned a mica into frigid ones. I wanted to explain this way of relating to each other. Metaphorically, the luxury hotel that sets Emmanuelle is the one we pretend to believe we are: presoners of a quadre, of an image, of something that is false. Som at this moment, and això is the one shown in the movie. I began to believe the idea that a woman who had sexual relations was not the one who had sex. I realized that I am not going to go anywhere in the world, like Annie Ernaux, but rather to see her. But the resistance is molt and molt strong. Tinc molta integrated self-censorship, speeches about noies no fan això and les noies no fan allò. This is very marked by this interior pressure, and these are the interior walls that I always try to hide, the comfort that I always seek to restore.
Q. What happened, from now on?
R. I am sure that I will continue with the movies. I was pleased with this exercise in all its seussants, and I was very happy to return to the writing part. I only need this solitude, to return home and open the door. Hi ha massa soroll. I watch a lot of movies, but I have the feeling that people are not interested in it, that I watch movies without watching movies, and I don’t like movies reduced to their subject. Fem pel·lícules que s’assemblen al que som, però els films son más que això! Soc feminist, I write about the gifts, it is evident that Emmanuelle is crossed by això. But I feel that the film has been reduced to això. Nowadays feminism is critical, in France. It is interesting to see how it is cataloged by radical mass, with the idea that arises is that feminism has tingut its second moment but that it has already ended. I ask how we can find movies that are assembled so that we sense that this implies that we ended up in a well-sealed box because we don’t see Gaire Soroll. Will you continue to watch movies about the condition of your entire life? I don’t know.
Q. How is Me Too going in France?
R. The vaig viure com una qüestió esencial. It is going to create the dichotomy of favor and against, something that seems like a folly. How can you be against the idea of ending sexual violence? People are against MeToo, but they would not be in favor of the freedom to rape a donut. It is impossible not to agree with Me Too. Penalment això està resolt de fa molt de temps, es objectarar contra un phenomeno que ha ha been written. If someone is against MeToo, I might want to discuss it. Fent Emmanuelle I have discovered one thing, and that is that MeToo has liberated the actors. We had a movie about sexuality, we talked about sex because it was the topic. MeToo, a film that makes cinema and the representation of sexuality, has liberated everyone. But no one said, això, the one who usually says is the opposite. To France, the one who questioned the right of the gifts of disposing of one’s own property and the way in which we value the freedom to say no, is open to questioning, both in the case Gisèle Pelicot.
Q. Pelicot has not been aware of the fact that he anomenem revictimized, he has given his face. It is not a usual gene, it has been a gest of extraordinary force.
R. Yes, but he is a victim. In reality, I will return to the area of which I will become a victim. Victim is not a judge of values. It is factual, tea a veure amb la llei. To judge a case, a culprit and a victim. It is important to return to this origin in the sense that it implies a certain moral question. It is not about questioning morality, it is about questioning fets.
