Movies set in contemporary France have typically portrayed a myopically white world, but that’s slowly beginning to change—Alice Diop’s Saint Omer was selected as France’s official submission for the best international feature Academy Award.
and also during the migrant crisis in Europe. I don’t know if it’s really connected, but I think it’s always connected because art is about people’s fantasies. The fantasy of arts is the fantasy of society. And when politically the situation is weird in your country or area, you have a lot of scripts and proposals that are very cliché.
Alice, there are many long, static takes and the film is suffused with quietness, but it still manages to be enthralling. How did you decide on the pacing?One of my first decisions was that the film would be built from very long single takes. My experience with the trial was extremely intense, and I was fixated on all the exchanges between the judge and the defendant. I wanted to render that intensity in the film as well.
Guslagie, you have extended stretches of dialogue or monologue and also periods of silence and stillness. Can you compare the two?They were connected. In a trial you have to speak, but you also have to listen a lot. You are allowed or not allowed to speak by the judge. You have only these very strategic times to speak. But in Alice’s films, silence sometimes says something much more important than speaking.
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