Ball’s kid, Samuel Kircher, beams down the screen, headlined last summerBy Catherine Breillat. Making his first appearance, the aspiring actor, 18 years old at the time of filming, takes on the challenging role of a stubborn teenager attracted to his stepmother with surreal grace.
How did you come to bring Catherine Breilla to the fore in the film?
In the summer of 2021, my brother [le comédien Paul Kircher] He just heard that he was caught in both High school studentby Christophe Honoré and animal kingdomBy Thomas Cayley. He could no longer play the Catherine Breillat film, which was to be shot at the same time. So Catherine took the casting, but couldn’t find anyone else. In the spring she returned to Paul again, he absolutely cared for her. That’s when he proposed to me. Shooting was inevitable. At the same time, when I was applying for my bachelor’s degree, I was also taking tests.
Did you already have acting experience?
My parents are actors [Jérôme Kircher et Irène Jacob]Obviously, this was the world I knew. I took theater lessons, did a little improvisation, but in a school environment. So it was a big leap.
How did you react to discover your teenage character burning with poisonous passion?
I read the script for the first time in my life. And while reading it, it is always difficult to imagine what the film will be like in reality. First of all, I did not understand what I was reading. Then, little by little, I became captivated by this relationship and what it entails: the dilemma between living a sensible life and abandoning it to desire. Before shooting, I thought a lot about my role, somewhat selfishly. I was afraid of the fierce, angry side of the character, of not being very credible in that register. But Catherine was not looking for someone who would cause violence or instability. Fortunately, because the character only turns out to be more annoying.
Catherine Braille is known for her demands, even her strictness, with actors. How did you experience filming?
Ekaterine is a fantastic director of actors, there is constant intensity on her set. I have never done filming, I had no idea to compare. That’s how I discovered cinema: this tireless quest to sculpt a scene, always moving forward. We try to install very precise emotions and this precision includes the bodies, their positions, their movements, nothing is left to chance. Still, I get the impression from her that Catherine left us a lot of freedom because she didn’t dictate any psychological intentions, only physical cues. Only then, when the scene plays, does it reflect it. He works hard on his own experience and understanding the character involves that.
Source: Le Monde
Ben Stock is a writer at Run Down Bulletin. With a finger on the pulse of the latest entertainment news, Ben provides in-depth coverage of the movies, music, and television shows that are capturing the world’s attention.