![]() I shot a TV series called Savages about the first Arab president of France-which is, of course, fiction-and with that I dug into the responsibility of the representations. Was it intentional to show a multicultural Paris?Īctually, I wanted to do more. There’s a variety of cultures and backgrounds shown in the film. You can have this body and face and sexuality. These were some of the archetypes and stereotypes I wanted to reshape.Īnd if you’re a woman in her 40s, she’s the one you want to look like! Virginie is not only one of the most interesting actresses in France-she’s the kind of woman who makes you believe that everything’s possible. But still there’s always a suspicion that there’s something wrong if you do not have a child. There’s no lack of autonomy in this woman. ![]() This character is fulfilled-sexually, intellectually, financially. I needed a woman in her 40s who could embody fulfillment. Talk about casting Virginie Efira, a Belgian TV presenter turned comedic actor known on these shores mainly for Paul Verhoeven’s not-comedy Benedetta (2021). It’s so much more moving when we try to do good but we just hurt or get hurt. I was fighting against those narratives in which people yell at each other and desperately try to hurt each other. Rebecca Zlotowski: There’s a certain radicality in the sweetness in the film. It’s a warm, nuanced film with charming humor that’s worlds away from the sad childless-old-maid trope instead it’s a refreshingly thoughtful and full depiction of a sexy, empowered middle-aged woman as well as a meditation on legacies in general and how we impact the lives of those who come after us. ![]() As she grows closer to them both, the thought of becoming a mother begins to surface-even as her ob-gyn (revered documentarian Frederick Wiseman, in a delightful cameo) warns her it might be too late and Ali’s ex (Chiara Mastroianni) hovers on the sidelines. Other People’s Children, the fifth feature from writer-director Rebecca Zlotowski, follows 40-something schoolteacher Rachel (a luminescent Virginie Efira) as she begins a relationship with Ali (a smoldering Roschdy Zem), who has an adorable young daughter from a previous marriage. A new French film that played recently at the Venice, Toronto, and Sundance film festivals aims to correct that. For a topic as ubiquitous in modern life as fertility, the theme is explored relatively rarely in cinema.
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