This year, the actor delivered two of his career best performances in a pair of films unveiled at Cannes: Mia Hansen-Love’s “One Fine Morning” and David Cronenberg’s “Crimes of the Future.”
This year, the actor delivered two of his career best performances in a pair of films unveiled at Cannes: Mia Hansen-Love’s “One Fine Morning” and David Cronenberg’s “Crimes of the Future.”
The Cannes Film Festival, again, belongs to Lee Seydoux.
The French actress has already shared the picture at the 2013 Palme d’Or at the festival for “Blue is the Warmest Colour”, making her and Adele Exarchopoulos the first actors to win Cannes’ top prize, which she shared with director Abdellatif. Shared kechiche.
Last year, he had four films in the festival but missed all of them as he tested positive for COVID-19. But this year, Seydoux delivered two of the best performances of his career in a pair of films unveiled at Cannes: Mia Hansen-Love’s “One Fine Morning” and David Cronenberg’s “Crimes of the Future.” Together, they have only reinforced the idea that Seydoux is the leading French actress of her generation.
On a recent afternoon a few blocks from the Palais des Festivals in Cannes, Seydoux enthusiastically greeted a reporter. how was she? “Great!” he answered. “Shouldn’t I be great?”
Seydoux, 36, has already made a major mark in Hollywood, especially by taking on the once stereotypical role of “Bond Girl” and pulling the character—a “Bond woman” she redefined—in several films. , adding a whole new dimension of depth to the franchise. Sedoux was so good that even James Bond wanted to settle down.
But it’s especially clear at this year’s Cannes that Hollywood was only one stop for many in Seydoux’s fast-paced, extraordinarily diverse career, which is still one of Europe’s most famous, lingering melancholy while still exuding a mysterious melancholy on screen. Has managed to become one of the faces. He is omnipresent and elusive at the same time.
“I carry a sadness,” Seydoux says, tracing it to a shy childhood. “Cinema is a bit fickle for me. It’s a real consolation because, in a way, I turned my misery into an object of beauty. Or I tried anyway. It’s not like it works every time.”
“If I didn’t have cinema, I would be very sad,” she adds. “That’s why I work out all the time. It’s a way to stay connected.”
In “One Fine Morning”, one of Cannes’ standouts, Seydoux plays a young widow raising a daughter in Paris while caring for her aging father whose memory is slipping. After being reunited with an old friend, a passionate affair ensues. “One Fine Morning,” a semi-autobiographical film Hansen-Love wrote shortly before her own father died of COVID-19, describes the irreconcilable coexistence of grief and love, death and rebirth, and the horrific instability of life. beats with. “Bergman Island” filmmaker Hansen-Love wrote it with Seydoux in mind.
“She was probably my favorite actress for this generation,” Hansen-Love explains. “She’s enigmatic in a way that very few actresses are. She’s not trying to show things off. She’s not impressed.”
The writer-director further adds, “There is a melancholy and melancholy about him which is in contrast to his status as a superstar which inspires me.” “On one hand, she is a very glamorous figure in the cinema scene. She is very sexy. She is in films where she is seen from the point of view of the masculine fantasy, and I think she enjoys it a lot. But there is an innocence and simplicity about him which gives me the same feeling when I film unknown actors. ,
Sony Pictures Classics acquired the film for US theatrical distribution on Monday, citing it as Seydoux’s “best performance to date”.
Up until this moment, Seydoux has experienced some of the worst sides of the movie business. In 2017 she said that Harvey Weinstein once tried to forcibly kiss her in a meeting in a hotel room, ostensibly about a possible role. The filming technique of the lesbian romance “Blue is the Warmest Colour” has also been questioned, in which Ketchich would shoot up to 100 takes of a single shot.
But Seydoux, who recently signed up with “Happening” filmmaker Audrey Dewan to adapt the erotic novel “Emmanuel,” says she never hesitates to express her sexuality on screen. “One Fine Morning”, with the advantage of Hansen-Love’s approach, is one of the sexiest films at Cannes.
“I thought this movie was about passion,” Seydoux says. “I have no problem with nudity. It’s something I love to watch as a spectator, as a spectator. I think it’s beautiful. I love sex scenes in movies.”
In Cronenberg’s “Crimes of the Future,” which opens in theaters June 3, Seydoux stars alongside Viggo Mortensen in a film yet more focused on the body. In a future where humans and plastic have become closer, she plays a surgeon who operates to remove tumors and organs with the brilliance of an artist.
“To be honest, I didn’t understand everything about the film,” Seydoux says with a smile. “To me, it’s like a metaphor about being an artist.”
“Crimes of the Future” may present a typical science-fiction world, but Seydoux is remarkably grounded in it. Eager for more open-ended cinematic adventures, Seydoux says doing a variety of films “is how I feel free. I don’t want to be stuck in one place.”
Says Seydoux, “I’m not a fan of ‘entertaining’ movies. I know it’s a big deal in America. I like to ask myself questions. I don’t like to answer. I don’t want to stop thinking. I guess some movies are just there to feed you with images. ,
“I love to feel like I’ve touched something true,” Seydoux says. “The world we live in today, Instagram and all that, is just a lie. I think from cinema we can touch a certain truth. And there are many more truths. I love to be touched. I feel alive “