Renate Reinsve’s career took a significant leap following her acclaimed performance in “Julie” at the 2021 Cannes Film Festival, where she won the Best Actress Award. Her latest project, “La Convocation,” explores the complex relationships between parents after a troubling incident involving their children, showcasing her role as a single mother. The film’s themes of societal judgment and emotional depth are highlighted through Renate’s powerful performance, reflecting her growth as an actress since her breakthrough.
Renate Reinsve’s Journey from ‘Julie’ to ‘La Convocation’
The year 2021 marked a significant turning point for Renate Reinsve, as she captivated audiences with her performance in the film Julie, showcased at the Cannes Film Festival in July. The festival was notably delayed due to the pandemic, moving from its traditional spring dates to summer. After a brief appearance in Joachim Trier’s Oslo, August 31, Renate shone brightly in this new cinematic endeavor, quickly becoming a frontrunner for the coveted Best Actress Award.
In a widely anticipated outcome, Spike Lee and his jury awarded Renate the honor, a moment that surprised few. While many recalled the president’s gaffe during the ceremony, where he prematurely revealed the Palme d’Or winner, Renate basked in the limelight of one of the world’s most prestigious film festivals. This led to an inevitable curiosity about what her next project would be following Julie.
A New Chapter: ‘La Convocation’
In France, the continuation of Renate’s journey was first introduced with Armand, which premiered in the Un Certain Regard section of the 2024 Cannes Film Festival. The film left with the Caméra d’Or, an award celebrating the best first feature across all sections, further highlighting Renate’s rising star. Shortly thereafter, Halfdan Ullmann Tøndel’s film, La Convocation, was released, continuing the momentum.
This film, reminiscent of last year’s La Salle des profs, delves into the tense dynamics between parents after a troubling incident involving their children. Renate plays Elisabeth, a single mother raising her son, Armand. As the narrative unfolds, it shifts focus to the societal judgments women face regarding their children’s actions, making for a compelling exploration of contemporary issues.
With striking sequences—like an unexpected burst of laughter and a group dance—Halfdan’s direction showcases a bold confidence in exploring the emotional depths of his characters. Renate Reinsve delivers an electrifying performance once more, as she reflects on La Convocation and her journey post-Julie.
AlloCiné: It seems like ‘La Convocation’ took nearly a decade to come to fruition. What were the main delays?
Renate Reinsve: In 2016, Halfdan and I collaborated on a short film. Despite just a two-day shoot, we shared a profound artistic bond, something quite rare. Back then, I had mostly worked in theater and hadn’t yet ventured into film. However, we both recognized the unique connection we had and decided to create something more substantial together.
Halfdan began conceptualizing the character of Elisabeth without knowing her story’s context. He drafted the screenplay around her, but obtaining funding in Norway was challenging a decade ago. Thankfully, due to the success of filmmakers like Joachim Trier, our country is now gaining international recognition, which is opening doors for personal storytelling and unique cinematic voices.
This emerging trend is relatively new, and I believe Joachim has greatly influenced this shift. The series Skam has also spotlighted Norway on the global stage. I sincerely hope our next project with Halfdan won’t take as long to get off the ground! (laughs) It has been a long journey to secure funding.
Do you believe your success at Cannes in 2021 contributed to ‘La Convocation’ materializing?
Absolutely. That night, after the awards, I texted Halfdan, excitedly suggesting how beneficial this recognition could be for our film. Shortly after, we secured the necessary funding, so I definitely think it played a role. It’s important to note that film financing in Norway primarily relies on public funds, with limited private investment. While we have historically been a sports-centric nation, cinema is now becoming increasingly appealing. We are in the process of forging our own cinematic identity.
Working with Halfdan, especially given his lineage as the grandson of Ingmar Bergman, must be inspiring.
Indeed! Liv Ullmann, a renowned Norwegian actress, has significantly influenced my craft, especially regarding the nuances of acting beyond national borders.
Reflecting on your role in ‘La Convocation’, what aspects of Elisabeth resonated with you?
Halfdan recognized my physicality in theater, which he wanted to incorporate into the character. He loves expressive actresses and dance sequences, which inspired him to delve into Elisabeth’s character, exploring the extremes of her emotional state. The initial concept was to portray how a character could fluctuate rapidly between vulnerability and strength.
We collaborated closely to find the balance in scenes, including one involving laughter—an unexpected challenge for an actress. This scene is pivotal for both Elisabeth and the film, and we worked together to push the boundaries of what the character could express.
I’m intrigued that your theatrical background influenced ‘La Convocation’, especially given its confined setting, reminiscent of a play.
Yes, the confined location was intentionally designed to evoke a sense of claustrophobia, making the audience feel as though they were trapped alongside the characters. The narrative builds tension until the cleansing rain at the end, offering a moment of release for both the characters and the viewers, who have been immersed in the unfolding drama, uncertain about the truth. This intensity is what makes the film resonate deeply.