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So, this is this first sequence that presents our main character,
Juliette, played by Ezia Evita.
We see her immediately drawn, So we immediately know his activity.
The train controller is Chet, who plays him.
Chet, he's the manager of Bertrand Belin, The musician who wrote the music of the film.
I am not at all actor, But it was my pleasure to film it.
I'm sorry, I forgot my ticket at home.
It's okay, you're going to give me your name and I'm going to find you.
So Juliette and shovel are far away.
We feel that she is used to that.
She is facing a very benevolent controller.
And we also immediately feel its great fragility.
The fact that she forgot her ticket, Panic.
We see that it is not very simple for She.
No one awaits him.
She looks.
No one thought about coming to pick her up.
But that's okay.
And we cross this pretty city of Chatillon-sur-Chalaron.
Which is an hour from Lyon.
Good morning.
Hi dad.
Oh Juliette.
I thought you were coming tomorrow.
Has anyone come to pick you up?
No, I took the bus.
For what ?
I thought it was tomorrow.
There, they find it difficult to look at each other right away.
It annoys me, I'm killing myself all the time right now.
It's complicated.
When she looks at him, he turns away.
He asks her news without looking at her.
He disappears.
When he returns, he looks down when She looks at him.
It's very complicated.
And we immediately see that he is very touched to see her.
But he doesn't know how to express it.
Here, the return to the teenage bedroom.
It's quite classic.
But inevitable, there, for once.
Yes ?
Yes, it's me.
Thank you for reminding me.
Yes, yes, it is boxing that no longer works.
She looks like nothing.
This dad, he sees that his daughter is not very fit.
That's it, Leonard.
So he decides to make her laugh.
T like Thérèse.
A like stupid.
R as a scraping.
L as lamentable.
I as filth.
D as stupid.
C as asshole.
And H like Hitler.
We immediately see this generous dad who
tries to get in touch with his daughter as he can.
He tries to make her laugh.
He is very clumsy.
You have a lot of news, These days.
Have you worked a lot?
He doesn't look at himself, once again.
He's just doing that, no.
When one looks at the other, the other drops their eyes, always.
In fact, I made a kind of depression.
But it's better now.
It is true that it is not easy, the life.
This is a sentence that my father had told me one
day, when I was young and that I was not very well.
It had marked me.
Do you like it?
It's because I think a lot.
Eh, shit!
Have you looked under your bed?
Well yes!
So there, to present our character from Marie-Lou, who is a tornado ...
Because obviously, they are not both, you have my right.
This is the exact contrary of the atmosphere that 'There is in Jean-Claude's apartment.
You are 35, you are going to be on the flock !
You do it on purpose!
The rose is for the dishes, Stéphane!
Yellow, for blood!
And now, to present the disenchantment who lives in this couple, the
argument on a sponge story, it was still the symbol of the end of everything.
I really like what Eric Caravaca plays with this character ...
Who is not easy, because it was still necessary to make it exist with not
much, but ... listen, you only have to put your boots, there, we no longer have time.
Here, the tornado, the little one who is so
bad in her skin that she is inhabited by ticks.
Ah if shit, we are late!
But for my name!
Wait, two minutes.
Key, phone, wallet, it's good, here we go !
Here it is, it's the morning tornado.
There, we see that Marie-Lou is therefore a hairdresser at home.
We had a lot of fun with the decorative team to create this logo, the name of ...
Come on, three!
Kisses !
... from his box.
Come on, fast, fast, fast!
Come on, darling!
Good evening, mom!
And for my name, how do I do?
Ah yes, shit, listen, say that I was not there, ok?
Sophie Guimain, very comfortable running in
car, which is not at all the case for all actresses.
It was quite fascinating, as she completely forgot the camera.
And so there we find Thomas de Pourquerie,
in this beautiful display of a disguise store.
So Thomas de Pourquerie, who is a super jazz musician, but not only.
And who plays from time to time in the cinema, With great pleasure and fun.
Marie is at work, with her little one ... I
don't know what it's called, to wash the hair.
There, it is Johanna Nizar, who therefore plays Marlène, which we will later find at the bar.
Excuse me, I hurt you?
No, no, everything is fine.
Go slowly ...
There you go.
This is the boredom of Marie-Lou, in her job.
Who no longer has fun doing what she does.
She is a woman who is not happy with She, who is not happy at work.
And who continues to try to do everything,
as asked, But she can't do it anymore.
Oh my God.
Magnificent photogeny of Sophie Guillemin.
With happiness.
With the beautiful light of Brice Ponco.
So this house is ... Ah, the cat.
So the cat is ... it's a lot of fun doing that.
This house looks a lot like the house that
was drawn in Camille Jourdi's comic strip.
I am very happy that we found this house, like that, very simple,
with a large garden, which allowed us to build the greenhouse.
Exactly identical, as in comics.
This is a sequence that looks very much
like what was going on in the comic strip.
Apart from the cat.
The cat, it was I who added that, but...
We almost followed comics like a storyboard, almost.
The costumes were found by Anne Blanchard, the costume designer, at the Lyon Opera.
Because among disguise rental companies,
we only had fairly ugly costumes, what.
And we wanted our character to really find spectacular costumes.
I love this plan.
Who is the joy of Marie-Lou, really freedom.
It looks like a short child.
I added this sheep there.
I added animals everywhere.
In the film, there are small animals.
If we look for them, we can have fun.
That was a very, Very pleasant to turn, very soft.
Where, in fact, there was no intimacy coordinator.
Since my actors, actresses, did not feel the need.
However, I directed permanently.
There, the sounds of the voices, we added them afterwards.
I spoke to them all the time.
That is to say that, for example, there, I said
Sophie, your hand descends in the back of Thomas.
And what they were directing, and Sophie, and Brice Blanco in the frame.
And they were not left to themselves at all in their gestures.
And maybe we shot two hours.
Finally, I didn't keep much.
But the idea was really a representation of joyful sexuality.
With normal bodies.
And that we can see the beads, The pimples, the hairs.
And let it be beautiful.
Like real bodies.
I was tired of the representation of sexuality in the cinema.
Very brutal.
With too young, too muscular bodies, too dry.
And above all, very passive women.
And there they fell.
They are both active.
Here are our two sisters who are found, Finally.
I find it hard to look in the eye.
As with the reunion between Juliet and her father.
In the same way, it's complicated.
You will tell me what you think.
But I don't understand the mind.
Here, are you hungry?
Do you want blank?
Stéphane has done it again.
Here, Stéphane is flan.
This is how Marilou talks about her husband.
Like a man who is flan.
There is well, there, the nona furniture.
Do you find?
Well, you're going to see, we have advanced well.
We take stock of the family, The grandmother.
You will come and help us for the end.
Marilou is fulfilled.
She has just made love.
She is all in beauty.
How are you ?
She is in her retirement home, Nona?
Juliette is not very comfortable.
Juju, you don't realize.
You weren't there when you looked for it everywhere.
No, but I know.
That's weird, that's all.
You look tired.
I sleep badly.
To find a resemblance between the two sisters,
we worked a little on hair color, on a way of speaking.
Not much, finally.
And it's pretty surprising how it works,
because in the end, they don't look like that.
Marilou, I have my legs that move
alone at night, and I can't sleep.
It's hell.
I know.
We call it impatience.
I had when I was pregnant.
Why do you have that?
I don't know.
So there, Juliette, you have impatience.
And then she no longer has her rules.
In the comic strip, Juliette rather had anxiety attacks,
panic attacks, things that were less visual and less strong.
So there you go, we went on this.
There, it is immediately.
Children arrive.
Marilou resumes her role as a mother, that she has a lot of trouble managing.
It says hello to Juliette.
Hello, Juliette.
Juju, come, we go to the shower.
Loulou, are you okay?
Come.
Hi.
Are you okay, darling?
Come, mom, come.
Oh there, you grew up too much.
Could I take a photo for my drawings?
And don't you need to be fat?
The cat, again.
We had a lot of fun with this joke.
Grandpa, another candy, please.
Yes, I had one.
So there you go, a grandfather who has fun with his grandchildren.
It is also his way of showing his tenderness with games, words,.
..
Everything is always a source of complicity.
Hello, Juliette.
How are you ?
I prefer a kepik.
And very beautiful, your blank.
Ah well thank you, you see, it makes me happy because they are the first chocolate.
Hold.
I love it.
I love Stéphane looking for his wife's recognition in everything.
Here, look, there is someone who likes what I do.
The dead child, that's it.
So from there, we launch small pebbles throughout the
film with the word "dead" which will come back several times.
The idea was that it gets into the head little by little.
This story like a ...
Small pebbles that we put on the road to the
spectator-speaker to arrive at the revelation.
Oh there ... that's it.
Dad, can we take the model photo?
This is how Léonard expresses his admiration for the work of his daughter.
It's "Oh there".
He can't do much more.
As if you were a hug.
Camille Jordi had told me that for her drawings, we made her loved ones put.
As if you welcomed children in your arms.
And therefore, compared to comics ...
What ?
Ah ... Juliette had no job in comics.
So, I wanted to make it an illustrator for children.
Such a way that I could invite the universe of
Camille Jordi to the image with his drawings.
But also use this kind of thing.
Have loved ones, etc.
There, when she puts her father pose by saying that he holds three children in her arms.
Again, we put small pebbles.
This is this somewhat motionless man who is back on the move physically by his daughter.
Certainly that it has been a long time that he n 'Has not moved his body like that.
And so, that's Juliette at work.
And there, we feel soothed, it is good.
She likes what she is doing.
Here is Pollux that we meet.
So some people see it, others not.
But already, she notices it.
This great man with his little dog, She finds him charming.
Hmm ... hum ... The fantastic Liliane Robert.
What are you doing well.
You have gold in your hands.
Are you good here?
Oh yes.
I would be fine.
We immediately feel a very close relationship between both.
Very tender.
Especially not for your father.
A lot of sweetness.
You could tell Marie-Dou that she has just taken care of my hair.
Finally, if she can, if she has time.
With his ...
He is not dead, at least, Stéphane?
No, he's not dead, Stéphane.
Again ?
Of course he is not dead.
Here, we present this grandmother who loses our
head a little, but the air of nothing, but not that much.
You're pretty, you know.
This is an idea of Liliane Robert, to start
by complimenting his little daughter.
I found it very good and very great.
Are you a lover right now?
No.
There you go, the idea was to show that it is
not a problem for Juliette not to have lovers.
And it was never a problem.
Besides, we talk about ...
His previous lovers.
Yes.
Here, I wanted to show that it is not because we
do not have someone in his life that we are unhappy.
Mathieu?
Hmm?
Juliette?
Ah, I couldn't say.
Yoann?
Hmm?
And the big one?
No, no, wait.
Quentin?
Yes ?
Here, the complicity of the two women.
You appreciate me then.
You see, I am not yet fucked up.
I added to Liliane this little bag with the shoulder ...
This is my alarm.
Lots of glitter to bring a little fantasy to this grandmother.
I no longer remember why.
Oh damn, my belote!
It's now.
So this two -tone house is incredible.
Obviously, it was not us who repainted it like that.
It was found in location.
I liked what it said about family a little broken in two.
If you spend an hour by cardboard, We will never get out of it.
It's okay, we're not going to swing everything either.
Go ahead, take.
I don't know the size of your apartment.
I don't know the size of your apartment, There.
We see how much they are both so close to the two.
She does not know her sister's accommodation.
This one, I keep it.
It's loved.
We listened to it all the time.
Does that mean anything to you?
We put away the houses.
We put away memories, we move the memories.
Things happen.
So there, we evoke this song by Marc Robin, the
pious, which tells a little more militant past of the father.
You don't have a cardboard?
Well no, I have no cardboard.
And here is a mysterious cardboard.
But we don't have time to ask more questions.
Ah no, that's not a horror.
I keep it.
Don't you want it, Marie-Lou?
Ah no, I have enough shit like that at the Home.
I would go and see up there, if this is the last time we come here.
We haven't sold it at home.
No but will see, the tenant must be there.
Uh ... good.
Dad ?
So that's it.
So the grandmother praised the floor and was a bit of a
conference with Pollux, which we will meet there right away.
Here it is.
Salif Cissé, whom I had spotted, like many
people, to the tackle of a film by Guillaume Braque.
I had been seized by the charisma of Salif.
Of course, because of its large size, but
also, it has something very calm, very posed.
Me, it reminds me of Lino Ventura, or this kind of actor
like that, which has an extremely reassuring virility, What.
You don't laugh.
And at the same time, he still has a teenager.
So he has a very soft look.
Here, Bertrand Belin's music, with whom I have been working with for 25 years.
And this Juliet who is looking for a little memories, but it remains much.
Maybe the material of this wallpaper.
Here we are, we don't know too much.
There, it's a whole life that goes in a truck.
I continue to find it very moving.
And a little frieze that reminds him of his childhood.
Well, there you go, I still put a small animal in the decor.
So.
Uh ...
It was the real gentlemen of Emmaüs who came to be the figurative.
They were very happy to be there.
Do you need help?
No, that's nice, we finished.
THANKS.
You will be able to occupy space as you want.
We leave you furniture, in addition.
Apparently they don't take everything.
THANKS.
So here it is, the idea is that we let Pollux occupy
the whole space of the house until the house is sold.
Bye.
She understood, nona, that we sold her Home ?
It's no choice, Juju.
It is very expensive, the retirement home.
Even if it's horrible.
Shit !
It is not horrible, the retirement home!
It's me who got all lubricates, eh !
I set the papers, I found the 'place !
So if you are not happy, Go ahead, find another, you!
I can't do it.
She is great, your retirement home.
Yeah, it's true.
It's not true.
Where is life?
And Jean-Pierre who lets himself be carried.
Finally, Léonard.
No.
I really like this a little heavy laugh that we found with Jean-Pierre Daroussin.
As soon as Léonard has something a little intimate to say, he has this creaky laugh.
There it is the canvases of the mother of Marie-Lou and Juliet.
I found it very effective to present a
character, to start by showing his work.
Imagine, wait, in the brake.
It was a painter from Montreuil who did this magnificent job for me.
It's a lot of fun.
Are you okay, darling?
She is a painter who does almost everything we want to do.
So what do you think?
Alexandra Roth, a great actress.
And there, Noémie Lowski.
Here it is.
With whom I wanted to work for years,
so we were very happy children to meet.
Oh, my darling.
Noémie wants everything we want.
I found it only yesterday.
With all his heart.
I'm glad to see you.
Without any limit and with mad generosity.
Here she, she scans her daughter in two seconds.
Did she get bigger?
Did she lose weight?
It's good, but you're ...
Well, she may not look very good, She's a bit like.
Immediately, it is reproaches and judgment.
It's terrorizing for Juliette.
No, you mustn't say bravo.
Ouh there!
This is the gesture that counts.
Again, Juliette has not many people with whom to communicate.
With his father, there is tenderness, But they can't talk to each other.
Marie-Lou has no availability.
And his mother, immediately, asked him for an inventory of his life.
She has almost accounts to settle.
You absolutely have to be in love.
And besides, it seems to me that ...
Your father is looking for someone ... do you tell me?
Mom, stop giggling, it's unbearable.
I don't eat!
Wait, what?
Marie-Lou is uncomfortable with her mother.
It was Gabine who told me that he had registered on a site.
It's super funny.
He said nothing to me.
It's normal, you're his daughter.
And what am I?
You are strong.
It's not the same.
Marie-Lou is the strong of the family.
Good morning.
Very happy.
Enchanted.
An artist too, isn't it?
Here, the hand that comes to land on Juliette.
Yes, I am a registrator for deep books.
It is completely stuck.
It's great.
Anxiety rises.
No, no, no, not great.
What would be great is that you do what you really want.
The reproaches arrive.
That you ...
You are never good enough.
You do your works to you, your personal work.
You know, mom, not everyone needs to paint
asses and breasts to do something personal.
But you know nothing about it.
Well yes, for sure, I have no brain, That's it, I do a manual job.
You do it very well.
She is a very hard mother.
The discomfort arrives, the anxiety crisis, Call it as you want.
In any case, it's ...
She must save herself from there, Because otherwise she will die there.
She has a small spindle at her raincoat, which is a small turtle.
It still has an animal, at the end.
And Pollux arrives, who walks the dog ... Hello.
... from the boss of the bar.
It's not okay?
It's okay, it's going to pass.
But you can't stay like that.
Is it better?
Here, there are still two people that it was difficult to communicate,
but this time, there is someone very available in front of Juliette.
So, for Mademoiselle, it will be?
Nanou Garcia, who is in almost all my films.
I don't know.
There were many more sequences that passed
through the bar, they are in the DVD supplement.
Hot or cold?
Alas, these scenes were rejected in the
editing, that is to say that the film did not want it.
All bar sequences seemed to be the subject of the film, alas.
Excuse me.
I feel stupid.
We had built a whole small life in this cafe in the village which brought together
all the solitudes, which allowed a social life like that, a little ... Thank you.
I think we still feel that this bar is very lively and very warm, but.
..
False rain has a little bit tinkered behind,
because we see that there is a lot of sun.
Bertrand's music that allows me to go from
one atmosphere to the other gently, we will say.
Our Juliette opens this famous card with small objects from her child.
I really like the light that Brice Pankow made for this sequence.
This is a little toy of his childhood that 'We will find at the time of his nightmare.
The dog, a rabbit ...
Anyway, I’m not repeating that there are always animals everywhere.
And so this little drawing of his childhood in which we find this two
-tone house and a little Juliet with hands towards the sky and crying.
So there is once again a little pebble that
tells us that there is something going on.
Here are Juliette's impatience.
So the impatience that is also called restless legs.
It's something ... Sometimes there are people who have reached all their lives.
Who never sleep.
And it's really a hectic feeling of legs.
Like small electric discharges.
It is very painful.
So here is a juliet who does not sleep.
It's a family that doesn't sleep anyway.
Here it comes back to the bar since it left with the umbrella.
It was the little pretext for her to come back to the bar.
The person there passing with the bouquet of flowers is me.
I like to go through my films.
This is Marie-Lou's lover who is there.
We see it briefly.
But which tells this village life well where everyone meets.
And here is the dog.
He's happy to see you.
His daughter's beautiful smile.
You always expect me to the beast of his mother ?
Does that annoy you that I take it in a picture before my drawings?
No.
Wait.
And here is thanks to the dog Juliette can open her eyes.
You can also take a picture podux.
What's his name?
Jean-Claude.
Oh yes.
Yeah.
I'm sorry for the last time.
This is Juliette in the spring.
Spring arrives very slowly.
And so we applied ourselves to shoot all the
outdoor sequences as late as possible in the shooting.
That is to say in April.
So that we feel this nature that arrives with light too.
I call it the tragic dimension.
We feel this sun still a little soft.
It's cold, we're a bit covered but ...
I have the impression that I take by the person if people tell me ...
Life starts to come back what.
We get out of this famous depression of the 'winter.
And here is Juliette to confide but because, once
again, it is the first time that she has someone 'listen.
There are people who are uncomfortable with the depression of others.
Someone really available and who is ready to hear ...
I prefer tragic dimension.
... talk about tragic dimension and depression.
It sounds better.
A small duck.
And here is this little duck lost.
Who needs love.
Who needs to be taken care of.
Who is very small, who is fragile.
And here is Juliette and Pollux who become as parents of this little being.
graceful and lovely.
Which will allow them to find themselves.
I love your breasts.
So here is Marilou and her love.
His bodies in broad daylight.
It is very rare to see bodies in broad daylight in the cinema.
And especially bodies like these.
Completely normal.
It's simple if I was you.
When I read that there are only 20% of
the female population in France which is 38.
I said to myself the bodies are really not represented in the cinema.
It's tender.
It's soft.
They have fun.
They are like children.
They bite.
They love each other a lot.
Pardon.
Excuse me but I hate Guilis.
I hate that.
I don't stand.
Pardon.
Excuse me.
I hurt you?
Here we are in the world of Marilou who loves plants.
What is her room for her.
I still want.
But hey there we have the time.
Can I come back tomorrow?
You know that not.
I love the noise of the elastic band there.
Here, it's for you.
We had said no gift.
We never said that.
The argument arrives and at the same time there is this fairly
classic argument of adulterous couple who is no longer understood.
We see him getting stunned in prevailing.
And I love this discrepancy in the ridiculousness of the situation and the seriousness of dialogue.
There are enough.
Well yeah, there are fed up.
Yeah, there are fed up.
His costumes are magnificent.
It's a lot of fun.
We really imagined that Thomas de Pourcury, the
lover, always arrived through the bottom of the garden.
Never elsewhere.
It was his place.
We have a happy little duck.
So this little duck in fact they were 20.
There was a crate with a calm duck and a small excited duck.
And according to the situations we had to
play, we took one of the little ducks that was fine.
So here, Pollux settles in the part which
was rather inhabited by the grandmother.
And then he's happy.
There, a wonderful little duck.
And there we had taken a small calm duck for the discussion.
If Juliette she comes back ... This is an improvisation of Salif.
I told him chatted with your duck.
And it's very nice what he proposed.
So.
Wood of water, do things safe.
It's very very good.
This is our Juliet who begins to draw this little dog from her childhood.
Leonardo continues.
As long as it always brings very failed gestures.
And so it's a gentleman who cooks very
badly and that things not good and very simple.
But he takes care of his daughter.
We see him very amazed by the work of his daughter.
And then we see this graphic work of Juliette
and therefore who is the one she puts today.
Which therefore draws from models.
I had great pleasure in filming what 'appears as magic.
This little pencil which in a few seconds draws perfectly
without any hesitation this little dog which appears like that.
It is absolutely magical and striking.
He makes little mouths of mouth our Léonard.
And this photography system allows us to see that she thinks of her Pollux.
She is happy with this meeting.
I thaw a pizza?
Yes.
So.
Our Leonardo who does not know how to cook.
Marie-Lou at work.
A hairdresser at home a second time.
Here it is Camille Jourdi's family.
It's Camille Jourdi with her papillotes, Her husband and two children.
She is a woman at work who will make a
phone call and her husband peels potatoes.
It seems stupid but it is a representation that made me happy.
This sequence allows us to be in the head of Marie-Lou.
What makes her dream is a harmonious couple
who seem to fly who seem very happy together.
It is a basic romanticism to which she sucks that upset her.
This is very beautiful what she gave us to Marie-Lou.
This is what she aspires to.
Be worn in a man's arms and feel light and fly.
She thinks about it for a great boredom of Monopoly.
Again she loves her children she loves her
husband but she does not like life that it takes.
For children to be comfortable we had launched a real part of Monopoly.
They almost forgot the camera they were so thoroughly.
24,000 24,000.
So who is it?
It's me.
She wants to dream with her family.
Stéphane don't you want us both?
We're going to look stupid.
She wants to dream with her husband and he does not understand.
It was a bit of the last hope.
She still tries to launch calls to her husband
to wake up their couple but it doesn't work.
This is one of the almost copied-colored sequences of the comic strip.
Not sleep.
Oh sorry.
It says that nobody sleeps.
I'm afraid.
What do you do alone in the dark?
I listen to silence.
The dialogue is almost identical to comics.
I just added this laughter that we found with Jean-Pierre.
Your mother was so noisy.
So.
Whenever Leonardo touches a lot, He has a big laugh behind.
It's been a long time since she left.
Yes.
It is better where it is.
I love this laugh.
And I love Isia's laugh behind.
Isia's real laugh.
Gorgeous.
Very juvenile.
I really like.
So we're back in the house.
Thanks to this duck, she has a pretext to come back.
Our Pollux certainly found this children's toy in the street,
In bulky items, and he installed that.
We see that he takes care.
We are in the link and in care.
I've had it up to here.
It's true ?
No, it's not true.
I'm not fed up.
I called her Norbert Magré.
Are you okay?
We can still change.
There is a bond that settles between two.
You talk to everything he eats there.
He wants his dad.
No.
He's staying.
He is in an in-between.
It's great to shoot with animals because
that it very much intimidates the actors.
I told you, I didn't lie to you.
We have to adapt to what animals do.
And so, if you know your character well, everything is possible.
But it gives a kind of fragility.
Something very sincere that is really interesting.
Then it sets up an atmosphere on the very special tray.
Everyone is very careful.
And then everyone is also in Tenderie immediately.
He launched a little challenge.
We draw the little duck together.
Like a small competition.
Please.
Large issues.
Once again, by the great pleasure of filming the hand of Camille Jourdi.
Which replaces Isia's hand.
And then for ...
To also tell that Juliette has a real look at Pollux.
She looks at him.
She is really in the 'appropriate.
I love the look she has about her book.
It's very beautiful.
So.
Camille Jourdi's magic hand.
I look a bit on the beak.
It's because it's your first duck.
Camille Jourdi gave me great confidence to adapt her comic strip.
Everyone has their own drawing.
And she was very happy with the fact that the character was a designer.
She came at least once a week on the set so that we film her hand.
And it was great to see her on the set too.
There are sequences that are really at the 'identical comic strip.
Others not at all.
And so for her, it was very moving to follow it so close.
I finish.
There, Isia, it looks like she is 14 years old.
Stain.
.
It's good.
So,
It was a small sequence to tell a bond that settles down.
And there they are, they walk in the street.
They are good.
It is true that they spent a lot of time together.
And then she tells things about her childhood.
They are well together.
A plague.
But a plague.
She put herself with her friends in circles like that.
And she was running.
Around me.
Shouting.
It was a memory.
They are like children.
So that's a song.
The pious.
It is a Mark Rubin.
A revolutionary song.
Very well known in the 1970s.
I found it interesting that she surprises her father
in a memory like that of her more militant youth.
And we see this fairly extinct Leonardo which there suddenly turns out to be very
lively in a form of pleasure really to find this joy of singing with all your heart.
It is obvious that he would not do that in front of her daughter if he knew she was there.
His body remakes gestures from the movements
he made before Isia when She took a picture of it.
Juliet, for example, not Isia.
It is a song that I find very very moving.
And who also talks about the freedom of how to free ourselves from the pious who attaches us.
Juliette has a very beautiful look at her father.
She decides not to intervene not to
disturb him, to let him live her trip fully.
We have shot three taken, it seems to me or four of
this song which is quite long, which lasts 2 minutes 30.
I had the idea of leaving the whole song so I
found it beautiful and moving, but it was too long.
I really like this delicacy, this tenderness that
there is to let his father live his memory thoroughly.
I like us to hear it like that in off, with Isia who looks at the
drawing of the little rotten duck of Pollux and her father S 'bursts next.
There is something happy that comes back there.
We really see her smiling with great sincerity.
We see her coming back to life anyway compared to the start of the film.
The house, before the storm.
Birthday preparation, family meal.
There, a family meal is nice and hell is.
Well, you can cut me off?
Gabi, will dress!
Why are you falling?
To make the noise of summer.
A little poetry in this little girl.
Billy de Rouge.
Here is Léni Morand.
Léni Morand played Annie's son in Annie anger.
It was very nice to regain work with this little boy who is growing up.
Marie-Lou, she wants it to be perfect.
So she is stressed, there's no pleasure, there's no joy.
She is just afraid that it is not well.
Her daughter, she is ready.
You have to see the table, everything must be ready.
In fact, you must not go throw the Rock.
She just wants everything to be good but She can't delegate.
Because no one does as well as it should be.
But the poor is ...
And her husband is very kind.
I say para ...
But I say cal.
Here, we are always with this grandfather who plays with his grandchildren.
I know !
Say cal.
Cal, cal, cal ... he is still an old -fashioned man.
While Marie-Lou is busy putting everything away, he is quiet on her chair.
Oh no Lucas, look at your drawing, It is damaged.
It's good with a task like that, It looks like a painting by Nathalie.
Ah!
You went to see, I was sure.
I went by chance.
Yes yes.
Ah well, say so, don't forget to put this painting of your mother.
Ah yes, shit.
She gave you one.
No bowl.
Our cat.
Why do you hate her, Natho?
She is the one who hates me.
But not at all.
In any case, she loves another.
Who loves another?
There is another, there is another ... There is yet another.
Gabi, stop!
I hope you don't do this in class.
It is really a very close sequence, very
close to what was told in the comic strip.
There are even exactly the same aftershocks.
These are very well built sequences by Camille Jourdi.
We feel the tension in a family very well.
We are each assigned to a place and we 'can't get out of it.
Nothing is ready?
Juju, turn on the oven!
I have to change myself.
Why are they still in advance, those?
Gabi, go down!
There are grandparents!
I really like that.
The dress too small.
The fact that Marie-Lou fights against her weight.
Finally, she doesn't care.
So there you go, there is this wolf.
Is he really there?
Does she imagine it?
Yes yes !
I'm coming !
In any case, it sets up a small stress compared to the family meal.
Good morning !
Are you doing well ?
This is sequences.
It seems very stupid, but it's super complicated
to set up since there are still ten or twelve actors.
They must all be in the field, They all have something to do, to say.
We have to hear what they say.
Each sentence is important, each movement.
So it's quite long to set up.
I would have closed the door.
But once it rolls, it's very jubilant.
The poor, she is stressed.
She puts her stress to her husband.
Everyone is stressed.
Our cat observes.
Hello, Hello!
Here, hello!
Here, immediately, we feel that these two, despite
the separation, remained extremely accomplices.
Don't you use her hand?
And communicate only by Vannes.
I didn't know that you had to come and disguise.
You're very good like that, a pedophile from the 80s.
I think it is really one of the characteristics of modest people,
it is to make the other laugh to go back into communication.
I had business with me when I 'was small.
Why did you keep it all?
Juliette puts her investigation, and then the grandmother does not want to speak so much.
And Juliette is quickly interrupted, So it stops there.
Gluten -free.
Without butter, without sugar, darling.
It's going to be delicious, that, shortbread to nothing.
I'll get rid of you.
What's going on?
Marie-Lou falls, in fact.
It's no longer possible, it will be more willing.
It's about to crack, There she can more.
She falls, it's humiliating.
She is not able to laugh about it either.
Her husband looks at her, he would like to
take her in his arms, he doesn't know how to do it.
There, the tension is there, let's go.
Is there no meat?
No, Gaby wanted a vegetarian meal.
The dialogue is identical to comics.
Demi Giordi has written extremely brilliant
dialogues that tell of all this family atmosphere.
It has nothing to do with a leak.
Children who have children, who observe
everything, who see everything, who feel everything, who say nothing.
Nanna cut her ears.
We die of hunger.
We were at a laughter yoga course this morning.
Marie-Lou Check the table, wonders if everyone has what it takes.
And then here we put back Juliette in her role of
the little, fragile, artist, which must be taken care of.
And Marie-Lou, we continue to consider her as the strong who manages everything.
That's it who is dead.
Again, dead, the cat we heard.
Ah shit, it's too salty.
Marie-Lou is collapsed.
She missed the dish.
And once again, we're going to talk about Juliette's problems.
Juliette is the center.
Juliette does not want to be the center of the conversation, but we bring her back.
And Marie-Lou is exasperated.
We cannot talk about something other than Juliette in this family.
Yes, finally, I'm not sure that Juliet is too speed.
Which makes her aggressive.
Mom, you snore.
It is very clear that Noémie is collapsed from the tone that arrives as and when.
I don't understand why you have sleep problems.
You look at Noémie in this dialogue between the two sisters.
You have no children, you have no house to hold,
you have no ready to reimburse, you have no boss.
Eric Caravaca also behind is very bad.
I have none of that.
I have nothing at all, actually.
How do we get out of that?
I find it very good, Béchamel.
We managed the noise of the cutlery to hear silence, but ...
You don't have to be unpleasant.
I am unpleasant.
Noémie, she is great.
In any case, it is delicious, This gratin.
Yes, very, very good, delicious.
To be honest, it is still a little salty.
I would ask anyone.
It is you who tell me about laughter of laughter and bananas and running.
Great, listen, if you would ask, There is no problem.
There is no problem.
It's not easy to dose the salt in the gratins.
We try to move on.
We try to talk about something.
Me, it's the same.
I miss them every time, my gratins.
Gabi!
I'm going to get the cake.
She hurts a lot, there, Sophie Guillemin.
She sees Marie-Lou, she wanted to do so well.
And Noémie, she is melted.
And Juliette, she's there for nothing.
So.
Here, this little girl who is not going well, She asks for something to hide.
That's what she asked me.
I found it, a large street, in the stuffing store and catch a disguise.
She is no longer older to disguise herself, Mom is ridiculous.
And so, she bought the mask from the lover of
Marie-Lou, but nobody knows that it is her lover.
The little one takes up her ticks.
This atmosphere is appalling.
And Leonardo, as he is generous, He tries to make his little daughter laugh.
He wants to help him a little, and he gets there.
Do you have it, my painting?
Family photo.
Marie-Lou, he holds.
She wants it to be perfect.
We take a photo.
But she is so tense ...
Stéphane, mouse less tense.
So.
Try to see without your glasses.
Her husband no longer pleases her.
There is nothing to do.
With glasses, without glasses, Smile, not smile ... it's screwed up.
Gabi, mouse my darling.
That's it, is it good?
It's good.
SO ?
It is failed, you all look completely silly.
Oh no, too bad.
I don't see why it appeals to this state.
I don't see it.
I don't have my glasses.
These are really sequences that are great to set up with
all these actors who each have their place in the context.
Juliette arrives, she is kind to her sister.
She wants to fix the atmosphere a little.
Isn't there Nona in the photo?
Where is she, no?
Dad, where is she, no?
Wait, I'll see it at the top.
Children, go see in the garden if Nona is there.
Nona!
We will see on the wheel.
Did you find it?
This is what we saw at the bottom of the garden.
A large white rabbit.
That's it, that's the joke.
But a little or a big one?
A big one.
But how big?
Show me with your hands.
A real rabbit, what.
You're tired, you.
It is not inside.
There is neither her coat nor his bag, There is only his scarf.
Shit !
Well, dad, mom, you stay there in case She returns.
All right.
We arrive at a 360 degree point, Which is always complicated.
All the trucks must be removed.
So there, hop, we see a street.
Another street.
And yet another street.
Nona!
There is the reverse.
92 years old.
A wonderful actress.
Nona, where are you going like that?
I come back.
I have to be on time.
We will accompany you.
We are on the road near the chapel.
You scared us.
You know, he sleeps early there.
But as there is my René ... Our grandmother is in love.
Many women in love in this film.
No...
With an ISIA, there, which is like a teenager.
Very bright.
I really like that at Isia.
Moments when it really looks like ...
A very very young girl.
Your grandfather died so long ago.
Then here is the revelation.
This story of ... little Juliet who would have spent a year with her grandmother.
When he had your father, suddenly, I had a little girl to me.
Just for me.
Nona, I don't understand what you're talking about.
You will not say anything to your father, huh.
What ?
For my lover.
No, but ...
Why am I ...
Why did I stay at home?
The time your mother comes back.
But poor.
We had a great party for your 4 years.
Do you remember?
I remember it.
Where does my mother come back from where?
Juliette does not understand anything.
And then, they are interrupted very quickly.
You're going to see that he's going to call me.
Look at him cut.
I think that at that time,
Juliette says I have to ask my parents questions.
Since my grandmother does not too much answer me.
But it's so difficult to communicate.
These are the impatience, once again, which prevent him from sleeping.
And this photo of her, when she was 4 years old, with her grandmother.
We should talk, you should ask questions.
Then she can't do it.
Camille Jourdi's hand coloring her drawings at a crazy speed.
I proposed to Camille to make a short animated film from her drawings.
Which scared her a little.
Because she had never done that.
It was Charlie Belin, a young host who made us this beautiful little film.
It was two or three months of manufacture.
And with Bertrand's beautiful music.
So we see there representing three children.
Who are the three children in history that Juliette must illustrate.
But who also represent Juliette, Marie-Lou and this missing little brother.
So there we find the little rabbit.
All the contents of the cardboard.
The sweater that Yvia had at the time of the drawing.
And here is this nightmare.
Not in the box!
And I can't escape because of my rims, it's horrible.
So once again, The only person with
whom she can really communicate is Pollux.
And to whom she tells this nightmare.
Your impatience.
I have never heard of that.
You have to tell him about your father.
He means why you were at your grandmother.
It's complicated.
We cannot communicate.
We have shot long moments in the bar.
With the concert, etc.
But alas, it was too long.
At the editing.
There is much left, alas.
And so it's Fantasio who plays with Seb MARTEL.
A great guitarist.
And so we turned.
Lots of concert moments.
This means that this concert crossing is extremely alive.
It's like a kind of energy flash.
... ...
... ... ...
...
... ...
...
Here it's Chantal Demage and her real baby.
Because I thought it was good to turn with his real baby.
She had turned into Annie Anger.
She is an actress that I really like.
So that's it.
She ends up with a baby in her arms for this mom who
will go pee and who does not know what to do with her child.
And the music disappears.
Another arrives.
It is no longer Juliette's intimate music.
And an emotion that earns her to have this baby in her arms.
This baby who looks at her and who sends her completely to herself.
A little pebble still posed like that in history.
It feels good.
Your little boy is too cute in any case.
She is a girl.
Juliette thought he was a little boy.
It's okay my heart.
Ah!
There were sequences that will be in the DVD bonuses of the cut scenes
where other things happened after this sequence in the toilet with the baby.
We preferred to stay in the emotion that Juliette feels at that time.
And there we have our Pollux who wakes up with his little duck stretching.
I love it.
And then we feel that.
Pollux is very good in this relationship which he builds with his little duck.
Is it wise to invite Juliette to dinner or is it a bit hasty for you?
And then he begins a little to want to specify this relationship.
Is she friendly or in love?
He doesn't know anything about it.
And either.
I really wanted to tell a meeting between two
individuals who look alike on different points.
But is it love, Friendship?
What is the difference between L 'Love and friendship?
All that is not very clear.
This is our ghost.
I love the seriousness of the staging out of step with the situation.
I'm glad you're here.
Spring really happens with something like that very bright.
These are sequences really completely glued to the comic strip.
I have not changed a comma.
I love the generosity they both had to shoot these scenes.
They had fun enormously and it was in great
confidence in the other and then also vis-à-vis us.
Team.
And it's wonderful to see these bodies run like children.
Get up.
Wait.
Yes, you bleed.
I love they are cozy.
I'm going to put a bandage to you.
Are you your children?
This is the first time they have returned to the house.
You don't have to hang out.
They discover Marie-Lou's life a little.
On the other hand, I have only the animal dressings of the farm.
Where do you understand?
It's my sister.
We had a lot of fun in sound effects.
I added tons of small noises.
Small steps, small stress.
I added a noise.
One has the impression that he hits the door when he had just tripped.
I am here !
She makes him go upstairs because he never goes through the door.
She tells herself that it will not last.
That he will leave.
And then we will forget it.
How are you ?
You don't look good.
Yeah, medium.
What is this story that I would have
lived with Nona a year when I was little?
She tells me.
So Pollux is always with his duck to discuss, to create his link.
A little cold, but good.
I admit that I had so much pleasure in filming
them both that I could have put even more.
And I had a lot of material in rush.
But hey, you shouldn't exaggerate either.
What do you think?
I have a lot of fun.
So there you are there, in the field, There is a small animal ...
There are always animals, what, Again.
We really forgot everything.
It's crazy.
Don't you remember Nicolas?
So there, starts a moment which is quite complicated in the light
since this discussion begins and when it will end therefore, it was
necessary to manage this narrative advance with the day which drops gradually.
So there, we shed light on a little end of the day.
Something 6.30 p.m., 7 p.m., what.
So, it's really a very important dialogue that unwinds the knot a bit ...
of all this.
So it was a song against song, turned into several vocals.
And we made a lot of sockets to really be able to
knit the fairest dialogue between the two sisters.
It's crazy.
And then, mom returned.
Me, I returned to college, that, I remember very well.
And then they resumed their lives.
Why don't I know all that?
You’re never hidden from you, Juliette.
And it is true that we stopped talking about it.
That's it, that's the film.
It is not the family taboo.
It is not the secrets.
It's just painful events that we
stop talking just because it's painful.
It stir the knife in the wound.
You have to move on.
These kinds of things that do that after
generations are a bit shattered without knowing why.
When Tonton fell ill, Do you remember?
They invented this story with a traveling idiot there.
I felt that it was not true.
Marie-Lou listens to her sister, she is in empathy, but she
can no longer hear her complain since it is always from her
that we only take care of Juliette and never of Marie-Lou.
And so, Marie-Lou cannot be tender or
touched by the sorrow and the anger of her sister.
As she says very well, there, right away.
You know, me, sometimes, I would have liked to be in your place.
They protect me a little too.
And even today, it's always like that.
When Maman falls in her periods of depression, it's me she calls.
It's not you.
When Dad had his phlebitis, I was the one who took care of him.
But it's not true!
Wasn't you aware?
Well no, it's ...
Well, anyway, it was not very serious.
I don't believe it.
We don't talk about Juliette.
We can clearly see all the anger of Marie-Lou, All these accumulated years.
Marie-Lou, you are strong!
And then the children arrive.
She's there!
Here you are already?
Each time, she tells you here.
You are already.
The role of mom is distributed to manage.
Hello my darling.
Cuckoo.
How are you ?
Yeah, great.
Was it today?
Great.
Have you ready your snack?
Yeah, the new bakery.
And where is it?
Up there, game play.
So there you go, Lulu left.
Marie-Lou, you have to help me, there.
She is upstairs.
Marie-Lou, all her discussion completely forgot her lover ghost.
And then, we still need her for something else.
It is called, her father needs her.
The ghost is up there.
You remember more then what it is ?
Don't you have an idea?
Try fucking shit password.
Where is this ghost?
There.
I have seen by that.
There, once again, a sequence very very close to
what is drawn in the 'Camille Jourdi's work.
Ouh, ghost.
Ghost.
There is nothing.
It was very interesting to work on music on this sequence because we.
First tried a little fanciful music and in fact,
we thought that we had to be with Marie-Lou.
For her, it's not funny, This story.
We are really in the vaudevillé, The lover in the cupboard.
Are you also looking for the ghost?
Yes.
I love Sophie de Guimard's fur.
Ghost !
Well, where can it be this one?
There, you have to look in the closet.
Come on.
You see, it's too small, there is no one who can enter it.
Same forgotten password, then you sing.
It is the disaster.
It still doesn't work, Marie-Lou.
And as you can see, that's it, The day really fell.
It is the disaster.
The little girl looks at her mother.
It is a bit the only one that is really in fusion with
her mother and who understands that something is wrong.
She is reading a book of Camille Jourdi.
And so that is this magnificent plan that we repeated a lot and that we turned.
We had 20 minutes to turn it, to have this
light between dog and Wolf, completely blue.
With this little yellow chair that we added so that blue comes out.
And by turning this plan, I said to myself, I have to one day make an
anxiety film with Sophie Guillemin so much her expressiveness is crazy.
There is nothing, darling.
Come on, we go down now.
Maybe I dreamed.
To sound effects, we added sounds so that 'We feel that the ghost bumps.
That's the rest.
The rest of the plan you saw just before.
There is a small white plan under the Gabi office.
I'll see.
I love the panic that happens.
And Sophie Guillemin as a rabbit in the
headlights, who absolutely does not know what to do.
Do you want me to go up?
It makes me laugh a lot, this kind of man replica
that absolutely wants to manage the situation.
There, it is a stuntman.
Not that it was very dangerous, But it's a bit compulsory.
The gendarmes arrive.
Will wait outside, dad.
I found that.
Make it see.
Harilou, is it?
Harilou, isn't it okay?
There, of course, a real stuntman who falls.
Who is it ?
Who are you?
I asked Eric Caravaca to repeat C 'Is who in a lot of different ways.
I really like what he built.
Let him go, Stéphane.
Place your rake, sir.
Who is it ?
Place the rake.
You're injured.
Who is it ?
That's the only question that comes to him.
Who is it ?
What's going on?
What is this story?
Very nice light by Brice Panko.
A catillon on Chalarone.
And therefore Pollux goes to the bar, since Juliet ...
He posed a rabbit, in fact.
She did not come.
It was not a ghost, silly.
Our cat.
They were two, too, cats.
They are always in double, animals, On the shoots.
It's nothing.
It was a mom who wanted to make a daddy's joke.
And that didn't do it, nothing.
You are never happy!
That's it, it's part of the sequences.
I think there are about twenty, About, or about thirty,
I do not know, in the film, that I have completely
written, added, what, compared to the text of the comic strip.
Because I absolutely wanted to save this character from
Stéphane a little bit, to make him exist a little more than in comics.
I like this breaking scene, a little
desperate, where it asks the real questions.
How we do to make the desire last, What ?
How do they do, others?
You, I need to present Nono to you.
This is my new boyfriend.
She's number two, she's behind you.
Pollux drinks a little more than reason.
We can feel the atmosphere of the bar, Warm, where everyone knows each other.
It's a bit like a family home.
How are you.
It'll be OK.
Come on, come!
Come on, my Jean-Claude, we're going to leave him alone.
I too go.
Here, a stuffed, aggressive, heavy.
He's a bit like the only brutal male character in the film.
All the other men in the film are tender, attentive, sentimental, sweet.
And that's it.
And so, Marlène takes care of Pollux.
They know each other well, they laugh together.
They see each other regularly at the coffee.
And then there, to be in contact, Like that, together, there is
something that wakes up between them, but which is a form of desire,
perhaps, which can happen with friends, like that, One evening, a little alcoholic.
The first kiss she makes him quickly, It's like a friend's kiss, really.
Oh, my Pollux.
But maybe they've been going to go together once, a drinking evening.
In any case, two solitudes console themselves.
They seem a little surprised, both, that it falls on them.
And during this time, as usual, Juliet does not sleep.
And his sister is by his side and does not sleep either.
I love this plan.
I love what Sophie is playing there.
She is stunned.
She is still completely in shock of what is happening to her.
How are you ?
Have you managed to sleep a little?
She finds herself in the same room as when she was small.
And Marie must join the somewhat tragic dimension of Juliette.
The cover, there, a little knitted.
And you have a little wink to Solveig Hanspach, who was a good
friend, and who knitted blankets like that when she was in assembly.
Is enough.
I have to recover.
There, Marlène is stressed.
We don't know why.
Maybe she's late to go to work.
Maybe she cheated on her companion.
We don't know.
In any case, she leaves quickly and our little duck follows her.
We needed a corpse in this story, since we are talking about impossible mourning.
Obviously, it was not a real dead duck.
We find Marilou's good friend, Mimi, Alexandre Herod.
What ?
Because in the end, it wouldn't be a good thing, all that.
A good thing?
That I find myself alone with two kids, Is that the right thing?
Great, cute!
You don't have to sacrifice everything for your children.
But what do you know?
You don't have one.
I have no children, but what I know is that ...
I think your kids, a joyful mom, a well
in her Basques, That's what they need.
Yes, I agree.
But that's enough, the jérémiades.
So there you go, Léonard applied himself to trying to cook something, really.
It's an event.
It's all burnt, but he made this effort.
I can help you for your training.
What training?
She wants to make a florist.
But no !
I love the united enthusiasm of the two women who want to encourage Marilou.
During the time we sell the house, a house like that, it does not sell in 10 minutes.
You will only have the charges to pay.
The tenant is really nice.
You can come to my house.
Come live with me.
It's not okay.
I'm not going to take you the little money you have.
I can never reimburse you.
What do you want me to do with this cash?
Take them, my money.
Otherwise, I pass them on to the friendly of the happy ballists.
You are stamped.
I can pay you studies.
You left the house so soon that I could never pay you anything.
You didn't care that I go.
Because you would have liked to prevent you from getting married?
It's new, that.
It's going to be my fault.
Everything we did, it feels like you didn't care.
Isn't that true, Juju?
Tell him.
I really like what Jean-Pierre plays.
This discovery by dint of being modest, By dint of expressing anything.
We don't understand his emotions.
He is quite upset by that.
I really like what Marie Logarec, the film's decorator,
made with this apartment which was completely empty.
There was nothing.
There was nothing on the wall.
They were old post offices.
And I find that you completely feel the
universe of an old man who lives alone.
Did you have my message?
Yeah.
What happened?
It is not going for cars.
We have a funeral, because we needed one too.
Is that he, there?
You help me?
Yes.
And we don't have much to say.
What is your injury?
I hit myself.
What do you have in the head?
The tea room.
Couldn't you be careful?
Have you forced it to bring him home?
And what are you going to do?
So there you are, we have ...
It was a very, very intense sequence to turn,
Because it is a staging of silence, in fact.
It is this woman who speaks constantly, which occupies the space.
Because she is a woman, if she stops being agitated in life, she collapses.
And so there, she will stop.
Mom, did you leave after divorce?
Was you more really there?
Yes.
I was supporting his life more with him.
I had to save my skin.
Really.
Save my skin.
It was a matter of life.
Ah, nun.
Still the word dead, once again.
The Tatin.
It's me.
THANKS.
And raspberry.
And then you were big when I left.
You were already all the time at Stéphane.
You were 13 years old, right?
I refuse to feel guilty.
I traumatized you that much?
Well no, listen.
Finally, all versions are ...
It is inevitable.
All parents traumatize their children.
Yes.
And that's how great artists are born.
Well, you see, me, it's missed, SO.
You have messed up my trauma.
But your children may have a chance.
I find this family humor and this permanent valve ...
Anyway, they will be famous.
You were still happy with dad.
Yes.
He is a wonderful man.
It's ... it's very beautiful as she talks about Leonardo.
We feel that these are people who have loved themselves a lot.
We had great years, that's for sure.
I liked the life before.
Before Nicolas?
So.
Juliette takes her courage in both hands.
And what Noémie plays is really exceptional.
We are talking about Nicolas.
We shot eight or nine sockets.
And it is a sequence that was exciting to
build with the film's editor, Héloïse Palloquet.
Because we had to dose this silence.
He was very beautiful.
You wanted to take him all the time.
You held him against you.
There is almost nothing said.
A big baby.
Who was a very small baby.
Because there is nothing to say, In fact.
And it is this staging of "There is nothing to
say" which was a great job on filming and editing.
Including sound assembly.
And this way of "it is necessary that life will resume, we have no choice".
And that's it.
That's what you have to say.
And then here.
And hop.
We eat.
We laugh.
We regain life.
Otherwise, it is not worth continuing.
Who wants my Tatin?
This great modesty is ... ok.
Come on, come on, go, go.
So.
This "come on, come on".
Hold.
All the people I have met in my life
who lost a child have this energy of ...
Very voluntary, what.
Oh, my darling.
So now that we're talking about, Marie-Lou understands that we must speak.
As she had said during the discussion on the steps with her
sister, she said "Ah yes, no, it is true that my children do not know".
She had become aware of it.
So there, she decides to take matters in hand and stop.
Two seconds, two seconds.
I have to find already.
So.
We are in front of this grave that the decor installed
in what is called the children's square in the cemetery.
There are lots of very small tombs.
It's your uncle.
He died when he was a baby.
So.
It is an awful story.
It was a long time ago, but you shouldn't forget it.
What is he dead?
It's called the sudden death of the infant.
You have a baby.
He is in good health.
He's fine.
Everything is fine.
And you lay it for the nap.
And then when you come back, he died.
Like that.
It's horrible.
Yes.
It's horror.
In fact, just speaking with his children, She frees her daughter from something.
The film tells that a bit, that is to say that 'A bit as if we had
backpacks filled with ... sometimes we don't know what they are filled with.
And then there, the little one, her backpack was very heavy.
And in fact, she has just emptied him, What.
She has a peaceful face as we have never seen in the film.
You're beautiful with your wick like that.
Marie-Lou finally complies him, Finally a tender gesture.
And the little one is released.
And we can feel that his tics will disappear.
She has a completely understanding look towards her mother and without judgment.
And Marie-Lou is relieved.
But she doesn't sleep, since we never sleep in this family.
And when she gets up, we are 'See that Juliette does not sleep either.
As well as Léonard, of course.
So there, it is obviously a mirror sequence
compared to that we had seen with Juliette.
Be careful, darling.
Oh, damn, you scared me.
You don't sleep?
Neither do you, obviously.
I really like this vest that we chose with the costume designer.
Which is blue and pink.
This is not at all the usual look of Léonard.
We thought it was the vest he liked to put home.
You know Juliet had forgotten Nicolas ?
Here, once again.
She doesn't surprise me.
There is not much to say.
I think it would be good for you to talk about it with her.
And there, Jean-Pierre plays exactly.
Yes, I want to talk about it, but to say what?
Everything is said in his face.
Do you often think of him?
Every day.
He's my son.
My little boy.
Here, it is my little boy who remains suspended.
It's his little boy forever.
Dad !
Here he is all disturbed to have mentioned his little boy.
It's not better, me.
Juliette, she is quite relieved.
She feels better and better.
Marie-Lou is the bazaar like D 'habit.
It's panic.
It's a tornado and Juliette and Léonard ... I do shopping for dinner?
... wait for it to pass.
It's chaos.
Her bag will hang on to the chair happily.
It was perfect, that.
Good day !
I took my tickets for tomorrow.
Oh yes ?
Yes.
I have to come back.
There, we see Leonard's tenderness.
And Juliette who gave up talking about her little brother with her father.
What do you have?
Juliette's little discomfort.
This is Leonard's only gesture towards his daughter from the whole film.
Be careful, it happens.
Does that happen to you often?
I think it's because I have to do it.
Here, the small hand posed.
This is the maximum that Leonardo manages to express physically.
Go better.
I really like that.
I was inspired by a poem of Pessoa that I do not
Could not say like that exactly of memory.
But basically who says, if you fall, if I can't
Not to get up, I will lie down by your side.
It has passed.
Very beautiful tender look of Juliette on her heart.
Can I ask you a service ?
So here is a sequence that did not exist at all in comics,
which appeals to sound memories.
I really like the sound to the cinema.
And I liked that this room that she went to see the first time she
visited her at home, which did not remind her of anything, it was the
noises that will bring her back to her childhood memories when she
was in this house, at the time of the disappearance of her little brother.
What was that?
And this little switch will bring her back to her childhood memories.
And she asks Pollux to start it several times.
So some people, for my greatest happiness, see it as a somewhat erotic
sequence between two, where she asks him to pursue what makes her good.
Here she is soothed with her grandmother.
Maybe they've talked a little bit about it all, maybe not.
There are lots of animals behind her, in this retirement home.
It's beautiful.
Me ?
Yeah.
Do you see what I see there?
This is our grandmother in love.
Everyone has a smile, there is something ... spring is really there.
But what is Henri?
Juju?
So Léonard discovers the drawing work
made by Juliet for the book she must illustrate.
And it happens that she put three children.
In his father's arms.
It is a sequence for which Bertrand Belin sought music.
And then we thought it was better in silence.
Sometimes it's not worth it.
So this is the same path that Pollux and Juliette at the start of the film.
Spring has arrived completely.
A sequence still that did not exist in comics.
Yes, I try.
So.
It is a couple who separate sadly
but with a lot of intelligence and love.
It's just disenchantment.
The observation of disenchantment.
It's not a crisis, it's just sad.
Do you want to go home?
No.
I'm sorry.
What do you want to do?
Do you want to go with the other?
I'm going to take care of myself.
I want to be anyone's wife, person's mother, person's daughter.
I want to do what I want.
You're going to get back.
I want to try.
Then after we will see.
You may be going there anymore.
I take the risk because I have the choice no longer, I can no longer breathe.
And he helps you to breathe?
I really like the great dignity of the character.
Are you going to see him again?
I really like him to express what he feels.
You break my heart, you know.
I haven't seen a man who says "you
Breeze the heart ”and I really like it to be tender.
He comforts each other with what they are living.
The fights are meant to say "I swear it will be finished".
In all this path, Juliette ends up
having her period again after 1 year.
It’s something that happens frequently.
Women, following shocks or events, no longer have their rules.
Which still tells a real imbalance.
It's great.
And so, I found it important to represent the rules as
something happy, of life, it is vitality, It's good health.
And often the rules in the cinema are represented
with a small red net in a shower and quickly it leaves.
It is washed like something dirty when it is very
important in the life of 'A woman to have her period.
I know a word in Arabic which designates a parent who has lost his child.
It is...
There are languages that have a fairly rich vocabulary, which have named things.
And it is true that in French,
there is nothing to name a person who has lost a child.
ISIA, there, it looks like she is 14 years old.
I love this ... she has a sparkling thing that is charming.
So.
I want to get one closer to the ’Another but they don't know too much.
In fact, they are a bit intimidated.
Are they really in love?
They don't know.
And anyway, she leaves.
When does your train leave?
In two hours.
Maybe you could come and see me one of these days?
I really like this adult shyness.
We don't really know what's going to happen.
I myself do not know anything and I don't want to know.
I don't want to know what will happen.
So.
So Juliette is preparing to leave, puts away his things.
We find the clothes we saw throughout the film.
The cardboard.
Everything is well recovered.
There is no problem.
It is his childhood that is accepted.
She hums the song that her father sang with all her heart.
Then Bertrand's music arrives.
That's it.
And here is finally a representation of this missing little brother.
I asked Isia to do this species of sob that comes from the belly.
There were a few sockets to get there.
I am really very happy with what happened there.
It is finally an image of all this.
And relief.
The outside.
The tree.
This is the tree that is above the little brother's grave.
I don't really know if we notice it but ...
And it's departure.
We get stuck.
It's happy.
It's the brothel.
Marie, can you pick us up?
Because Marie-Glou's car does not start.
We are in front of Papa and I showed within half an hour.
She was able to have a battery.
Let me look.
Thank you so much.
If you didn't cover anything, what are you going to have?
Anyway.
Stop yelling, there is a mom who comes to pick us up.
We are saved.
We are really in comedy.
The family by car.
Except that we moved the characters.
Parents are the best.
I do not lead.
What did you do with your hippie?
I heavy.
I met Mario.
He lives in an extra cave.
Aren't you tired of typing all the crazy people in the region?
I type someone, sir the big stuck.
What do you know?
Maybe I have an appointment with a woman.
I don't cry out on all rooftops.
The poor woman.
You have not touched anyone for at least 20 years.
You no longer have to know how to do it.
For what ?
Do you want to teach me things?
You want ?
Eh ?
Do you want me to teach you things?
Go ahead, you're afraid.
You are afraid.
That's enough.
We don't mind, right?
We had a lot of fun turning this.
Stop.
The next one that is punching, I turn it.
It is such that brush, it is such that turns.
No, no.
He is the one who is lounging.
It is he who turns.
It's my car.
So there, it was extremely difficult because there was no awarded train.
So, we had to turn to each train that was coming.
It was a strike period.
So, we had two taken, four taken in any
possible to shoot these sequences with the train.
So it was very, very tense and very stressful.
The family is finally reunited.
Are you crying?
She cries?
Is it a love sorrow?
No.
She is immediately obsessed.
Is it because I shouted?
No.
No, I don't know, it's ...
It's life, departure, duck.
The duck?
What duck?
A real duck?
We adopted a duck with a boyfriend and then he died.
Ah!
Me too, I had a duck when I was little.
One day, my father killed him and we ate him for Christmas.
It was awful.
But you are stupid, why are you telling him?
She laughs?
What should we do?
She spends two weeks at home, She becomes happy.
This is the first catch with the coming train.
So.
And afterwards, we were waiting for an hour and a half that there was another train.
Anyway, it was very complicated.
Here, we feel that the two sisters may
have understood a little for the first time.
And Léonard who does not know how to say goodbye to his
daughter and who does not know so much that he does not kiss her.
Come on, hop, you have to go on the train.
Too much modesty, impossible.
Here, everything is said there.
So we had two sockets where the team was on the train to film Jean-Pierre.
And then two taken on the other side on the platform with Isia on the train.
So it was extremely stressful.
Because we didn't really have a figuration.
We hoped that travelers will not pay too much attention to us.
And it was very scary.
Juliette sleeps.
Finally, this is the first time that we have seen her sleeping.
It was I who told him we arrived.
And then she finally drew.
This is his way of appropriating things.
And so she is good, she stretches, She slept well.
And that's it.
In your heart.
In my heart, in my heart too there is something.
Who goes up, who goes up, who goes up.