Here is an example of auteurist cinema which justifies the French approach to nurturing young talent. After a series of short films over a period of six years Katell Quillévéré (then aged 30) directed this, her first feature, in 2010. Written with Mariette Désert, the film features a riveting performance by Clara Augarde as a 14 year-old girl at a crucial moment in her young life. Winning the Prix Jean Vigo after a Cannes screening for Un poison violent, Quillévéré and Désert went on to make Suzanne in 2013, this time achieving several César nominations. Successful careers have been established with the hurdle of the ‘second feature’ having been cleared to acclaim.
Both the films appear to have had UK releases which I missed and I’m grateful to BBC2 for a late night screening of Un poison violent which I recorded. An auteurist film in this context means a feature which receives funding support from a range of French public funding bodies. In this case a budget of €2.32 million was put together by the independent production company Les Films du Bélier with pre-sales and co-production investment from Arte France Cinéma, pre-sales from Canal + and Ciné Cinéma, and backing from the Brittany and Pays de la Loire regional funds (details from Cineuropa). Similar deals in the UK for first time writer-directors would probably mean a much smaller budget and the need to focus on a genre narrative of some sort. Un poison violent is arguably a ‘coming of age’ story but the approach is much more about character than narrative drive.
The film’s title derives from a Serge Gainsbourg song (from a soundtrack album Anna with Jean-Claude Brialy in 1967) and Katell Quillévéré chose to make the connection because:
“. . . . a Serge Gainsbourg song, [which] uses this expression to define love. In a more profound way, to me it refers to everything that makes us feel like we’re alive, including things that can make us suffer. It’s a contradictory impulse that guides our relation to the world. For Anna, the heroine, the “poison” is in relation to the freedom she is going to experience, which is inherently a form of solitude.” (See the interview on the Artificial Eye website for the UK DVD)
Anna starts her summer holidays, returning to a family house in Brittany from a Catholic boarding school where she has been sent because her parents are in the process of splitting up. Her mother is in the house alongside her father-in-law, Anna’s grandfather, and an older couple whose relationship to Anna is less clear. In this ‘bourgeois provincial family’ (the director’s description) Anna’s mother has turned to her beliefs and to a young local priest (an interesting performance by Italian actor Stefano Cassetti ‘cast against type’). Anna herself is due to be confirmed and the film narrative begins in the local church. I was surprised to be shown a packed church with some glorious choral singing – far too beautiful a sound for any church service I’ve ever witnessed! In fact music of all kinds (mainly folk music) plays a major role in the film alongside excellent camerawork (Tom Harari, another young filmmaker on one of his first feature film jobs) and use of landscape and mise en scène.
The ‘poison of freedom’ quoted by Quillévéré manifests itself in Anna’s emotional reaction to her parents’ separation and the expectation of her commitment to Christ and the Catholic church. She struggles with how she feels and is drawn into two contrasting relationships – one is with her elderly grandfather, a wonderful old rogue played by the comic actor Michel Galabru and the other with a local boy Pierre. These are healthy relationships in which Anna is introduced to all kinds of pleasures which are probably not what the church might approve of for confirmation candidates. However, the use of music and camerawork/mise en scène suggests that Anna feels an erotic surge in church as much as with her two companions – she faints twice during formal services. The scenes with Grandpa and with Pierre work very well because of their sense of realism. Michel Galabru was in his late 80s when he took the role and Youen Leboulanger-Gourvil as Pierre is shorter than Anna – creating that familiar couple of young teenagers in which the girl is more fully developed. Katell Quillévéré again on how she cast the film:
“I wanted earthy people, not ‘models’. The religious theme called for bodies that personified their character powerfully, otherwise the film’s stance would seem redundant. I only chose actors having a body filled with life and sexual energy, for that is precisely what the Catholic religion tries to smother, and something that a camera will immediately capture.” (DVD interview)
Clara Augarde as Anna was also a non-professional actor at this point. She plays the role so wonderfully mixing a genuine sense of innocence with a maturity that suggests she knows what is happening in terms of her developing sexuality and desire that I confess to perhaps neglecting some of the other cast members in focusing entirely on what happens to her. Quillévéré argues that the film is also about the family and that sometimes Anna’s story must make way for an exploration of what is happening to her mother (played by the Portuguese actor Lio), the young priest and her grandfather (who faces his own death as he relishes Anna’s journey of self-discovery).
The director discusses her story in terms of other “pious young women” (the interviewer’s term) in French film and literature, stating that she loves the heroines of Georges Bataille. The interviewer suggests that this interest in religion and desire is unusual in ‘young French cinema’ (i.e. among younger filmmakers). I certainly can’t remember too many recent French films like Un poison violent and I found it a riveting watch. I’m surprised it didn’t make more of an impact in the UK or North America.
UK trailer (with Radiohead’s ‘Creep’ – in a choral version):