Renowned Filmmaker Claire Denis talks 'Bastards'
This week marked the 70th birthday of visionary auteur Claire Denis. Her work has influenced many with her personal and progressive exploration of human relationships as well as themes surrounding post-colonial Africa. Her array of films include her directorial debut Chocolat (1998), White Material (2009) and Beau Travail (1999) which is often regarded as one of the greatest films ever made.
I spoke with Denis in 2014 when she was in London to promote her latest drama Bastards, which screened in Cannes as part of the Un Certain Regard competition in 2013. The film follows a sailor who returns to his home town after the suicide of his brother-in-law. As he attempts to make amends, he soon becomes involved with the man believed to have caused the tragedy.
My speaking with Denis marked my very first press interview and - having written an essay on Denis at University - naturally, I was nervous beyond belief. However, she could not have been more gracious and understanding, even informing me that I did a great job as soon as it was over and I could breath a sigh of relief.
Do you believe this film to be your darkest film to date?
Let me think...maybe? I think the last scene with Denis in Beau Travail (1999) was the saddest scene that I ever shot. This film is a very dirty film but it's not the saddest. The saddest film is Beau Travail.
The closing song to Bastards is so affecting...
Oh yeah. It's like cream; melting cream. In this case, I found this song from the 1970s by an English group Hot Chocolate and my friend made me a surprise of him singing this song. When we tested it, it's great because it's very moving to me and never a caricature; words, music, his voice; he's so human.
Having drawn from a lot of personal history in many of your own films, where did the inspiration for Bastards come from?
From many sources: William Faulkner's novel; a film by Akira Kurosawa; the presence of Vincent Lindon. Little by little, the idea of this guy who is so sure of repairing what has been destroyed becomes a victim himself. I don't really know the real source; I have no idea. Maybe there should be a lie detector test [laughs]. I would be curious to know where this originated from.
You've worked with Vincent Lindon before. Did you have him in mind before you started writing the film?
Yes, he wanted to be in the film; he pushed me. He's an actor that is strong, intelligent and understands everything and yet his fragility and humanity is so open; he has absolutely no protection. Sometimes it's even striking to see him so open; I really think that he is unique.
How did you go about finding Lola Créton to portray the character of Justine?
I had worked with her before. She's like a little goddess; like a little Greek goddess with dark hair. She worked with pride and she is not week which, for me, was very important.
Family is a fundamental theme in this film and with family comes unconditional love, did you want that to remain ambiguous?
I have never thought about the message unless you're leaving an message on an answering machine [laughs]. But message? I don't know. Probably after I did 35 Shots of Rum (2008), I explored the idealistic relationship between a father and a daughter which was inspired by the story of my grandfather and my mother. Maybe the complete reverse comes with Bastards; I don't know. My introspection is very weak when I'm working; I'm not searching for roots and stuff like that. I think introspection is fun sometimes, but it's a burden. Who cares?
In many of your films, location is key. Is that drawn from your upbringing and moving around a lot?
Maybe. If you travel a lot when you're a child but I have no idea in a way. There is a difference between travelling a lot and growing up in Africa; I was growing up in different countries with different culture where there was discrimination. That's probably very important.
Do you think that destination is key to the character of Marco and the decisions that he's made?
I think he's a free guy. So suddenly he probably thinks impulsively but me, I was never a sailor; my father was never a sailor. What I experienced growing up in Africa is, sort of, not guiltiness but anxiety. I wish for trust; I need to trust people.
All three female characters in Bastards are extremely vulnerable. Do you think this sense of vulnerability can only be portrayed by females onscreen?
I think that the most vulnerable is Marco; he's like a toy. Things are nothing to him; it's just having a dick. If I think about committing suicide, it's always a complete compromise between oblivion and violence. It's hard to explain that onscreen and I think that the music was the most fantastic carrier for that scene.
This scene that were talking about reminded me a lot of David Lynch. Was that intentional?
It was not intentional but I am happy that you thought of David Lynch because I love him. Honestly, no. Although I like David Lynch movies, it never occurred to me – what I had in mind was the novel Sanctuary by William Faulkner; the vision came primarily from there. I reckon David Lynch has also read a lot of Faulkner.
You've been known to take your time during the editing process. Was this the case for Bastards?
I'm very lucky because no one started with me right from beginning of my filmmaking career. Although it's true – the editing is painful at the beginning (first or second week) because the only thing you face is the mistakes you've made. I think for many people, editing starts with a lot of “oh my god!”
The final sequence of 'Rhythm of the Night' in Beau Travail has remained iconic and so close to people's hearts...
Oh yes, we made that decision in two minutes. I said to my editor “I can't stand to finish the film on such a sad note” because this infamous dance scene was originally meant to take place before the concluding scene but I wanted it to be a celebration. It's a decision that makes you happy and it's two minutes! I'm so glad this scene makes people so happy, still.