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HomeentertainmentMovie NewsAlejandro González Iñárritu, Santiago Mitre reveal more about why they made these...

Alejandro González Iñárritu, Santiago Mitre reveal more about why they made these Oscar-nominated films

Five international directors narrated a Series of stories drawn from a wide range of overthrows of dictatorships such as Santiago Miter’s Argentina 2021 — Intimate, tragic portrayal of friendship through adolescence, as in Lukas Dhont’s Close.

Some of these films are based on historical figures – such as

Marie Kreutzer of Corsage, see Vicky Krieps step into free character – Austrian Queen Elizabeth. David Chow’s return to Seoul is based on the personal experience of the director’s best friend and her relationship with her birth. The complex relationship of the family. and Bardo by multi-Oscar winner Alejandro Gonzalez Inarritu , A False Chronicle of Few Truths Weaves a complex novel out of semi-autobiographical musings.

THR’s Kevin Cassidy joins five famous filmmakers The inspirational core behind their decisions discusses what type of research went into creating these features and preparing these films at this particular moment.

Palm Springs Film Festival I want to go back to that spark that made you want to make these movies this is in you life and your career?

Mary Cruzer Palm Springs Film Festival I grew up in Austria and the Empress Elisabeth was one of the biggest tourist attractions there. On every memento, it’s either her or Mozart. So I’m not very interested in that woman. I found it very interesting to make a period film and deal with a real historical figure because there is not a story and there is not a truth. It’s not objective, it’s always interpreted. The Sissi [Elizabeth’s nickname] film by Ernst Marischka is a reflection of the time when people wanted to see a beautiful film about a young empress, because it was shortly after the war. [Vicky Krieps and I] had done a movie before and just wanted to work together again. She said, “Why don’t we make a movie about Sissi?” I was like, “I mean, who would do that?” But then the idea stayed with me. I started reading, and then the spark for me was reading about the rebellious side of that woman, how much she hated being that beautiful queen, and with that, the spark was really: This is a story. This could be a story about a woman who no longer wants to meet expectations. About women of that era, and still are today, raised and trained by society to please others to be loved. That’s what I want to talk about. In every film I do, what I really try to do is show the complexity of being human. It’s kind of like a calling—I feel like I’m being called to make films about complex female characters. Because whenever I write a script, people say, “Oh, that’s a great script, but do you think people will like her?” It’s just something I really care about: the complexity of people, regardless of their gender Or where they came from, or were they queens, or soldiers, or whatever.

Palm Springs Film Festival Alejandro, you said something to the effect that all your other movies are yours Shot with eyes closed. But with BardoPalm Springs Film Festival, you look inward. can you talk about this

ALEJANDRO GONZÁLEZ IÁRRITU I guess what I’m trying to say is that with movies like this, you have to close your eyes and make it out of what you find out there, and sometimes [that] will It’s enjoyable, sometimes embarrassing. Orson Welles has a beautiful and funny line: “Everything they say about me at some point is true.” It’s true, right? They can say, “Oh, that guy is mad.” Yeah. On Tuesday, that day, I was pissed off. We are the mosaic of reality. So we are neither good nor bad. I have to find all the bad things I see about me or things that bother me, the memories I’ve been creating and shaping and the dreams, fears, doubts, uncertainties and experiences I’ve been through and accept it like acupuncture , emotional things that are prepared for me or need me to modify and organize 13 lived in this country with my family for many years. This can create a lot of displacement and a rupture of identities, challenges, gifts and all these emotional things. I take them from a subconscious source, not rationally, and make them fictional. I’m not interested in facts. I’m more interested in emotional beliefs about things that affect me, my kids, and my wife. In a way, fiction has the ability to illuminate what reality hides.

Davy, I’m surprised that the main character in Return has money Going to Seoul is, how comprehensive. She is a Korean-French woman and you are not. However, since you are French-Cambodian, you share a double culture. Is that your access point?


Maybe unconsciously, yes. But at first it was functional. The story of returning to Seoul comes from a real experience of mine. In 1000, I went to Korea for the first time. One of my closest friends, who was basically the inspiration for the character [in the movie], called me up and said, “I know you’re going to Korea. I just took a week off and I’m going with you. ’ She’s as impulsive and unpredictable as the characters in the movie. She said something on the phone that I remember and she just said, “But I don’t want to see my biological father from Korea. I’ve seen him twice. I hate him. I don’t want to see him.” I said, “Okay , no problem.” I didn’t ask anything. We ended up in Korea and enjoyed [a] festival for two or three days. This is the first time for me. I was young and enjoying soju, and you can see our characters drinking heavily in the movie. She told me, “I just texted my dad, I’m meeting him tomorrow, do you want to come?” So, of course, I did. I started our journey on the bus, like in the movie, and an hour and a half later, we were confronted with her father from Korea, her biological grandmother, witnessing how unbelievable I would never [been ever scene] imagining being part of and seeing both worlds, bridges [between] being broken… each part has so [many] heaviness, conflicting feelings and so many Willingness to communicate and connect and complete impossibility to connect no matter what the language barrier.

Palm Springs Film Festival Santiago, you just said you were surprised that the events in your movie hadn’t happened yet Movie? Palm Springs Film Festival


The process of making a movie is so long that I’ve had the idea for years to make a movie about this subject. I have a lot of admiration for how it’s been done. It laid the foundations of a new democracy after the Argentine dictatorship. The terrible dictatorship that ruled this country was [democratically] kicked out. And it’s so important, it’s very risky because the military is very strong at this time. So the government made that decision, the judges did the trial, the prosecutors did the investigation, the people who were kidnapped, [whose] relatives disappeared or were killed, testified, when everyone who runs this dictatorship, this system of repression People, it’s still free. So, I think, this is a remarkable event. As an Argentine, I am very proud that my country had the courage [to do this]. But then my goal was to tell the story, because I really wanted to [portrait] this magnificent trial, and I thought it would be great material to make a good trial movie in a classic way. But when we started showing the film elsewhere, we had it for the first time at the Venice Film Festival, and I realized that there are a lot of people from other countries, different societies who have a great connection to the film and they could use Some elements of the movie tell us to think about the history of our own country.

Lukas, can you talkClose origin ? Specifically, there was one book that had a big impact on you, right?

Lucas East Special Palm Springs Film Festival Yes. A friend of mine recommended me a book titled Deep Secrets. This is a book written by an American psychologist who spent five years in 500 boys. And in Age, she asked the boys to talk about their male friendships. At this age, these boys talk about each other in the kindest, tenderest ways possible. They said they would go crazy without each other, and they dared to use the word love openly. It’s just incredibly emotional to witness. Then, as the boys grew up and she asked them the same questions over and over again, she realized and noticed how the boys no longer dared to use that language, how they actually alienated each other. Because they’re afraid of that emotional language, because our society tells them that’s soft and seen as feminine. So we actually deprive them of their real connection. This is also the period when the suicide rate for boys in their lives rises to four times that for girls. I also developed a fear of being intimate with friends at a very young age. But after reading her book, I realized that we live in such a society, where all tough and competitive things are strangled by it. And I’ve also always thought it had a lot to do with my experience as a queer boy growing up in the Flemish countryside. That fear came from knowing my sexuality. But what her research has shown me is that it’s not about my sexuality, it’s about masculinity and the type of vocabulary we’ve built up in this world to associate with masculinity.

Palm Springs Film Festival David, you played a completely unknown character in your movie- How did you find the right actors?


That character is complicated. This requires the actress who is going to play the character to reach extreme emotions within a second, and within a scene, sometimes within a shot, extreme to extreme emotional transitions. This is very technical. Since the story is about a French-Korean girl, I really wanted her to be a French-Korean actress. We have a lot of French-Asian actresses in France, but not many from Korea. So it’s very challenging. I certainly don’t want Korean actresses learning how to speak French because this movie is really about identity and it won’t work out in two seconds. So I opened up the casting to non-professional [actors]. But no one really lives up to the kind of rage the character needs for freedom. One day [I was talking to] a Korean adoptee, [a] French artist, [I] introduced him to the film. Finally, he said, “You know what, you need to meet [this] woman. She’s not adopted, she’s Korean, she moved to France when she was nine.” But it’s all about character, charm, self-destruction, and She is an artist. So we ended up meeting in Paris for about three hours for coffee. Apparently, she wasn’t interested in being in a movie. So knowing this, I have to go step by step. But I think we became friends very quickly. Then I asked her to audition. She’s amazing, a natural actress kind of like, raw and real feeling, able to express very real feelings for a second without thinking about the surroundings.

Palm Springs Film Festival Lucas, your movie depends on the performance of these two incredible little boys . How do you find them and bring these shows?

DHONT Palm Springs Film Festival At the end of writing the script, we realized that this movie is about the friendship of two year old boy so we need to find for that very fragile, fleeting moment between childhood and adolescence. So we went to all the schools. I saw 150 boy since I was in the last years of elementary school and the first grade of secondary school in Brussels and the Brussels surrounding area. But then, call it luck, or fate, I don’t know which of the two, but I’m taking the train from Antwerp to Ghent. I looked next to me and there was a young angel sitting, talking to his friends, very expressive. There’s this fire in his eyes, these long lashes. I didn’t hear what he said because I was listening to music. So it’s kind of like a movie already. But I saw his expression. I thought, “Wow, this looks like an incredible young man. I thought, ‘I’m going to regret it if I don’t go to him and ask him if he wants to do an audition.” ’ But I also thought it would make me feel really creepy. So I was like, “Okay, no, I’m going to ask the panel,” because he was sitting in a panel. Luckily, he seemed very excited and Responsive. We saw them in droves, every time 13 Lessons for a day for young people. So we have this workshop with these groups. In one of the sets, Eden [Dambrine] and Gustav [De Waele] ended up playing Léo and Rémi, and they came together, they had never acted before, they had never met each other. There was instant chemistry between them. I think we see so many young talented people, but being with them also has the potential to be a friendship. And then I think a big part of the budget goes to rehearsals because I want to rehearse with them for six months because they’ve never acted or been on camera before. I knew I had to have them ready before we actually started filming. So what we did in those six months was they only read the script once at the beginning, and then I made them forget about it. When they read it, we talked very candidly about the themes of the film: guilt, grief, friendship, the heartbreak of friendship.

Palm Springs Film Festival Can you tell us more about the rehearsal process? Palm Springs Film Festival

Palm Springs Film FestivalDHONT

We brought a camera with us early in the rehearsal, the camera filmed what we were doing, the camera followed us. And I think what they’ve come to understand is that there’s no real move and stop. Nor was it because the camera was rolling that I suddenly asked them to do anything different. So there was a documentary feel to our work, even though everything was framed, even with the mise-en-scene, they got used to the idea of ​​the camera. I think when people hear rehearsal, they usually think that means rehearsing a specific scene. But I am exactly the opposite. I never rehearse a specific scene because I want to get away from them having to repeat what they’ve already done. What I do is, I get to know them in depth. They have a deep understanding of me. I build families, intimacy and confidence. Because sometimes, for example, we make pancakes, which is their favorite activity. I ate a lot of pancakes while making this movie. When we made them, I would say “Why do you think Léo would do that?” But only very informally. They’ll say, “Yeah, I think he did it because of that.” So what I do is, in this very informal way, I make them detectives because they only read the script once, but they become Gotta come alive, they try to fill in the blanks, try to think why their character is the way they are.

IÁRRITU I block scene very technical and very precise because it requires a long and very precise camera move because 30 mm lens and 70 degrees with lighted murals and technically complex stuff. So we sometimes have to really rehearse lots and lots of extras and everybody. So technically, [my actors] have muscle memory physically and can obviously keep track of subjects and things. But then, because sometimes it’s just a take or two and the adrenaline becomes — once they have the words and they’re really comfortable with it, then they’re liberated. They can come up with something very real and very honest. It’s about being honest with so many people. It’s something I’m always excited about. That’s the alchemy of it.

Interview edited for length and clarity.

Directors of the Palm Springs Film Festival
Courtesy of Andrew Cabral Photography/Palm Springs International Film Society 2023 2023 2023



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