Not just ‘Bonjour Tristesse’ with cellphones: At TIFF, a classic gets a modern update

As I delve into the captivating words of this filmmaker, it becomes apparent that her art is a rich tapestry woven from personal experiences, societal influences, and a profound love for storytelling. Her films are not mere entertainments, but introspective journeys that reflect her identity as a woman, a daughter, and a creator. The themes she explores, such as women’s interiority, the bond between fathers and daughters, and the solitude of a woman in a room, resonate with a timeless quality that is both familiar and disorienting.

One of the highly awaited world premieres at this year’s Toronto International Film Festival includes a screen adaptation of Françoise Sagan’s 1954 novel “Bonjour Tristesse,” marking the directorial debut for author Durga Chew-Bose.

I’m thrilled to share that my movie is screening this Thursday as part of the Discovery section, a prestigious segment where talents like Alfonso Cuarón, Maren Ade, Christopher Nolan, Yorgos Lanthimos, and Barry Jenkins have showcased their early masterpieces. Incidentally, I’ve been honored with one of the festival’s filmmaker tribute awards at a fundraising gala taking place on Sunday evening. What an incredible journey it has been!

Known for her insightful commentaries on modern life’s contradictions, particularly in her 2017 essay collection “Too Much and Not in the Mood,” Roxane Chew-Bose is well recognized for her love of cinema. She has not only written extensively about this passion but has also penned profiles on stars like Natalie Portman and Kristen Stewart for Vanity Fair. This affection for cinema transcends mere fandom or appreciation; instead, it reveals a profound, heartfelt connection to the process of filmmaking itself.

In the movie, 16-year-old Cecile (Lily McInerny) enjoys a peaceful summer at a quaint French villa near the sea with her father Raymond (Claes Bang) and his companion Elsa (Nailia Harzoune). However, the appearance of Anne (Chloë Sevigny), an old friend of both Raymond and Cecile’s deceased mother, disrupts this tranquility. Anne and Raymond reconnect romantically and hastily decide to get married, causing great unease in Cecile. Desperate to separate them, she takes reckless actions that lead to consequences far beyond what she anticipated.

The movie meticulously focuses on intricate visual elements to create a captivating atmosphere that lingers: the messy clutter on a table’s edge, the drape of fabric slipping from a shoulder, the soft glow of sunlight filtering through a curtain. Collaborating with cinematographer Maximilian Pittner, the creative team behind the film consists of Miyako Bellizzi, the costume designer for “Uncut Gems,” and François-Renaud Labarthe, a frequent collaborator of director Olivier Assayas on production design.

Though in conversation Chew-Bose references filmmakers such as Edward Yang, Claire Denis and Ingmar Bergman with a familiar ease, her influences were, as she puts it, “not all just off the Criterion Collection.” (One shot, she explains, was swiped from “Moneyball.”)

1958’s film adaptation by Otto Preminger, featuring Jean Seberg as Cécile, catapulted her to stardom. In the current version, McInerny, who gained recognition after being nominated for a Spirit Award in 2022’s “Palm Trees and Power Lines” and has been showcased in a Celine ad campaign by Hedi Slimane, takes on this role.

During a recent conversation from her Montreal residence, Chew-Bose mentions that the initial villa they discovered during their site exploration in Cassis, situated in southern France, turned out to be the one they eventually utilized.

Chew-Bose expressed his affection for an unconventional location in the south of France, stating, “It wasn’t what I expected or what others might envision when they think about the region. It had a rugged, enigmatic charm that resonated with me.” He further explained that since a significant portion of the story unfolds there, he felt compelled to listen to the villa whispering, “Pick me.

As a devoted admirer, I’d like to share that Chew-Bose discussed her initial film being a heartfelt adaptation, weaving a poignant narrative about a father-daughter bond, inspired by the loss of her own dad. Moreover, she explained why Sagan’s story continues to resonate profoundly in our modern times.

As someone who’s always shared my deep connection with films, being on the other side of movie-making has undeniably been an enlightening experience. I must confess, one significant revelation that hit me was the sheer amount of hard work and dedication that goes into every frame, every line, and every moment on screen. It’s not just about telling a story; it’s about crafting emotions, shaping perceptions, and stirring souls – all in a way that feels effortless to the audience. That, I believe, is the true magic of cinema.

What surprised me quite a bit – and I admit it might make me seem somewhat green – is that I’m surrounded by exceptionally skilled individuals who carry more experience than me, yet they all share the same enthusiasm for realizing my vision for the world I wish to create. It’s crucial to convey this. You must earn people’s trust when you don’t have all the answers and are sometimes open to questioning rather than certainty. Additionally, you’re afforded an incredible opportunity to learn rapidly in this setting.

The transformations I’ve undergone during this film-making journey will continue to resonate within me throughout my life, given the collaboration with an array of exceptionally talented artists specializing in diverse aspects of our production. For instance, my editor, Amélie Labrèche, has expanded my understanding of rhythm in writing and films – a realization that has significantly influenced my current scriptwriting process. This enriching experience, similar to attending a masterclass with an accomplished editor, has deepened the essence of my writing voice by introducing new facets of filmmaking, ultimately enhancing the foundation I initially started with.

It’s interesting to note that your debut film is an adaptation rather than an original tale. Could you share your experience with this approach? What drew you specifically towards adapting “Bonjour Tristesse”?

As a passionate movie enthusiast, I have to give credit where it’s due – this project idea was all Lindsay Tapscott and Katie Nolan. It’s been an eight-year journey. They approached me specifically for the screenwriting role, having admired my collection of essays. They saw potential in me to adapt Françoise Sagan’s book, and I must admit, they were visionaries.

Initially, my hesitation to join the project as the writer intrigued me, which ultimately led me to accept. Since it wasn’t a story that was deeply ingrained in my reading or personal experiences as a woman, I felt there was an opportunity for me to contribute something unique – my own voice. So instead of viewing it as someone else’s story, I treated it like a challenge: “What can I bring to the table? How can I add value? How can my perspective carry on the narrative?” This wasn’t just about the Françoise Sagan book, but also the Otto Preminger film adaptation. Given its iconic status and star-studded cast, it holds a significant place in popular culture. In essence, adapting this work for my debut film feels like an extension of that legacy. When it comes to my creative process, I don’t think too far ahead. If I write one book or make one film, even if it’s an adaptation, it still represents my voice.

As a passionate admirer, I must say, it’s natural for people to anticipate a cinematic adaptation that resonates more deeply with the themes and personal experiences from your book, particularly your journey as a child of immigrants in a vibrant multicultural setting. Could you share how this unique story found its way into your creative process?

It’s a great question because I’m really happy to say, “Well, isn’t it nice to not do what people expect of you?” That brings me a lot of joy too. And one thing that I will say about the topics that you’re talking about, in my essay collection those are just a small part. I do write a lot about film and I do write a lot about directors who have influenced [me], not just as an audience member and now a director, but as a writer and as a woman and as a daughter. So I welcome that surprise. I hope that people are always surprised by the art that they encounter and that they don’t go in thinking they know what to expect.

In many respects, the subjects I’ve remained fascinated by as a reader, author, and film enthusiast have found their way into this movie. Topics such as women’s inner lives, the impact of women on one another, a woman isolated in a room, her emotions, fathers, and daughters. So, while some may be taken aback, I believe that astute viewers might recognize this as a consistent thread in my work, and now I simply have had the extraordinary opportunity to express it through cinema.

I’d like to clarify one aspect regarding the choice to set the film in a contemporary era. Despite its rural setting being quite timeless and secluded, there are elements of modern technology like cellphones present. Can you explain what aspects of this story you believed resonated with current times, making it relevant to our society today?

I appreciate your choice of the word “timeless,” as it’s exactly what I aimed for in creating a world that feels both familiar and puzzling simultaneously. To me, timelessness signifies this very concept. Moreover, I wanted to ensure that this wasn’t simply a rehashing of “Bonjour Tristesse” with modern technology; instead, it was about striking the right balance.

The book seemed incredibly up-to-date for several reasons, with the word “modern” representing the immediacy of the characters’ concerns, their inner struggles, their conflicts, and their self-contradictions. These aspects will forever resonate as modern to me. I also believe that by centering the lives of these women, I was able to deepen this sense of contemporaneity because their voices spoke directly to me. As I read, it felt like an extension of numerous themes that I often ponder.

It seems I’ve always had a soft spot for movies centered around fathers and daughters. This one also fell into that category, which I find timeless. To put it simply, I appreciate all of them: “Paper Moon” is among my favorites, but so is “Contact.” For me, these films depict a bond that feels like only two souls left on Earth remain.

I’d like to ask, has the timing of your father’s passing, so close to when the filming started, affected your connection to the material? Given that the story features a father-daughter relationship, could it be possible that your personal experiences heightened your emotional response towards it? How do you think this personal aspect might have influenced the final product of the movie?

I don’t know yet. There’s no question it impacted the movie and impacted everyone on set. I really do feel like it was, and I don’t use this word lightly, an extraordinary thing to happen. And with that came a lot of sadness and grief, but also a lot of guidance. And made me even more grateful for everything I had and what I could do. And it made me take to heart every single moment we were all there making a film together. It was like the worst thing ever happened to me in the most extraordinary setting. And that alchemy and that explosion of emotions is probably somewhere in the movie. But I also resisted making the whole movie about my own personal experience.

During that time, I continued to guide, listen, and absorb knowledge. For me, the production process of the film is just as significant as the final product itself. This significance stems from my father’s passing, as I shared my grief with my team, spending most of my days with them rather than going home. As a result, my first movie became an incredibly vivid snapshot in time that compelled me to be fully present. People often say, “try to take it all in,” but the unfortunate event made me treat each moment with utmost sincerity and intensity. My father wanted me to create this film, so I was determined to do just that.

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2024-09-07 14:10