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In 2013, Abdellatif Kechiche’s memorial “La Vie d’Adele” was released. Shortly after its almost unanimous critical reception, as well as revelations of the extremely difficult filming conditions, Léa Seydoux announced that she never wanted to film with its author again. Ten years later, in the post-#MeToo era, she looks back at what she learned from that experience.
Léa Seydoux, ten years later
in 2013, adele’s life Exposed to the world the talents of two of the most talented actresses of their generation: Léa Seydoux and Adèle Exarchopoulos. The performance of both of them together is extraordinary.Palme d’Or at the 2013 Cannes Film Festival Abdellatif Kechiche and his two lead actresses are provided for.
Since then, both have established themselves at the top of the French A-list, with Léa Seydoux also becoming a global star with an impressive international filmography.
This one is on display at the monumental site, Animal By Bertrand Bonello, recently returned to the set of this film. It’s neither a secret nor a mystery to this masterpiece of cinema adele’s lifeThere is a very tough shooting behind, Place of many abuses and moral oppression, Facts that Léa Seydoux condemned in 2013, and an experience from which she learned a lesson ten years later.
“We cannot be abused”
Léa Seydoux announced at the microphone of France Inter on 2 February:
With Abdellatif, what was hardest was the moral harassment. Everyone has been abused, I deny it, especially when it’s in a work context. You cannot be mistreated when you go to work in any profession. So I hope this is something I never get to experience again.
actress of spectrum and of France It also underlines that Abdellatif Kechiche’s method is very demanding, for example a single scene was shot over several days, with “100 shots per day“, and start again the next day. A process “passionate“, which has given rise to abuse.
However, Léa Seydoux still maintains a positive aspect, that of learning something from the game, explaining: “Abdellatif, he exhausted us in one place, but from this exhaustion came some very sublime things,
“I have a choice about what I want my body to look like.”
The elements that made the abuse and moral oppression more violent are sexuality and nudity adele’s life, A task that touches on the privacy of artists, and which must be handled with the utmost respect. Which was not there then.
The film scenes were difficult to perform and, once again, there was no respect. These are things I will never accept again. The way it was shot, the bodies, the nudity, I got to choose what I wanted to show with my body. This was not the case in Abdellatif Kechiche’s film. Today, if I do a sex scene in a film, I ask the audience whether I approve of that scene or not.
