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cnrs rencontres aiea prostitutes It’s my second time working with Hong Sang-soo. He called me a few weeks before the shoot and told me he was coming to Cannes. He asked me if I wanted to film with him again, and I said yes of course. It happened in a similar way as In Another Country. He does things unlike anyone else, he chooses his setting first and then imagines a story based on that. For In Another Country, he had found a seaside guest house. He told me I was going to play three characters: a documentary filmmaker, a wife living a double life and who secretly meets with her lover at this seaside resort, and a third that he hadn’t created yet. He asked me to come up with costume ideas based on information he gave me. A month later I arrived in Seoul where he picked me up from the airport with the lead actor who plays the lighthouse keeper in the film. It was akin to Philippe Garrel and Gérard Depardieu driving to the airport to pick up a famous actress from another country. Filming lasted nine days. Claire’s Camera was shot during the Cannes festival, in the same year I presented Verhoeven’s film. I had just finished acting in Les Fausses Confidences. And the next morning I was leaving for Cannes. I barely had time to unpack my bags, he looked at all my clothes: the little yellow sweater, the blue Chanel bag, the hat. I looked like Inspector Gadget with my yellow Fendi trench, my sunglasses, and my hat. We shot for six days. There was no script, he writes as he goes along.

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ca rencontre rencontre vigneux Rejecting a film means ascribing negative intentions to it. It’s a film about us and our era. It’s the anatomy of a rich bourgeois family from the North of France. Obviously it’s a Haneke film, so he’s not going to soften the edges or make it look especially pretty or nice. It’s never nice to hear that you are blind, deaf, and indifferent to the reality of the world. That’s what he tells us and it’s the truth. It’s a theme that has obsessed him for a long time. When we shot The Piano Teacher – in the same way I heard Godard talk about the death of cinema – it was a theme that kept coming up. And it wasn’t even the main theme of The Piano Teacher. But Haneke was always telling me: “Only a sixth of the world lives the way we do.” And during that same time there was Calais and all the people living in tents along Boulevard de la Chapelle. Recently I liked The Square, though it has faced some criticism. It’s a film about the contemporary art world, as well as an era, social media, and all the communication tools that are changing the way people relate to one another.

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