In cinema, the use of non-professional performers is relatively common. It is that, as long as the selection has been well made, the process pays off. In this that the film immediately gains in authenticity with these stars devoid of experience but “crial of truth”, to use the established formula. This is especially the case with children, whose innocence is moving because it is not played out. In their movie The worstwinner of the Un Certain Regard prize at Cannes, Lise Akoka and Romane Guéret are not content to put four kids on stage: they also tell the story of the shooting of a production similar to theirs.
“The film grew out of a previous short film: royal huntabout the experiences of a teenager from a very poor neighborhood in the north of France, who takes part in a cast wild for a film”, explains Romane Guéret during an interview conducted in Paris last January.
You should know that before moving on to directing, Romane Guéret was herself an “assistant cast “. As for Lise Akoka, she was previously coach for children in the cinema. It is precisely during such a cast wild” that the two young women met, became friends and decided to write and direct the said short film together.
” At the time of royal huntwe had two favorites for children, which made Lise and I want to ask ourselves questions about this rather special practice that is cast savage. »
The result, The worst, is an exercise in metacinema as touching as it is enlightening. The key to the film’s success lies, apart from the acuity of the filmmakers’ observations, in the distribution.
“From the start, we knew that was the heart of the film, confirms Romane Guéret. We had very little money, but that’s where we put the most. It was long, tedious. We went looking, as for the film in the film, for children who do not have easy life trajectories: in homes, in socio-educational structures… We have made encounters that change lives. »
These encounters contributed to the creation of the characters and the narrative. At the end of a process that spanned nearly four years, the co-writers and co-directors made their choices.
Mallory Wanecque embodies Lily, a teenager whose need to seduce hides an immense pain. Timéo Mahaut plays Ryan, who suffers from disabling attention disorders. Loïc Pech plays Jessy, a wounded boy behind his macho façade. Finally, Mélina Vanderplancke is Maylis, who is so introverted and afraid to disturb that she almost disappears.
feed on reality
Through their film, and the film within their film, the duo raises many pertinent ethical questions.
“There was not only the question of cast wild as such, but also that of the after, intervenes Lise Akoka. What is life like for a child after being chosen? How is it for him or her on a film set? It gives rise to hopes, but hopes that are often disappointed afterwards…”
Because by introducing itself into the existence of these children, the cinema can cause damage.
“For these young people, it’s exhilarating, but it comes to an abrupt end,” continues Lise Akoka. What will it take from them, and what will it leave them in return, this cinema? Because it’s a type of cinema that feeds avidly on reality. »
We will understand, The worst does not offer a romantic vision of the practice depicted nor of the cinema world, for the account, however benevolent it may be. To develop Lise Akoka:
“To achieve its ends, that is to say the production of a work, the film and its artisans will sometimes neglect the sensitivity of those they portray. When it comes to children, moreover fragile children, it is even more damaging, if necessary. Hence the importance of asking ourselves about the responsibility of this cinema, which we adore, Romane and me. »
For example, there is this passage where local community associations challenge Gabriel, the director, about his deep motivations: by choosing local children and teenagers struggling with the most serious problems, therefore by choosing “the worst” candidates, does he intend to indulge in pathos? In this form of cinema, which could be described as “porn misery”, who likes to exacerbate the idleness that rages in the cities and the suburbs? Among other questions.
“We wanted to take a very critical look at this social cinema, while offering a plea in favor of this cinema”, summarizes Lise Akoka.
Metafiction and introspection
Far from being contradictory, the approach allows for frank exploration. Moreover, the co-authors never give the impression of lecturing, on the contrary: by favoring metafiction, they create an introspective work.
“Making the film confirmed that we could not simply answer these complex questions,” says Romane Guéret. Our approach has become even more nuanced. Because Lise and I obviously found ourselves faced with the same issues as Gabriel in the film. Speaking of which, after filming, I found that I now felt more empathy for the character of Gabriel than when I was writing him. We shot the same scenes as him, and the play of mirrors was revealing. »
Revealing, and quite conclusive. In that, despite the blind spots that children sometimes suffer from during such cinematic adventures, the game seems to be worth the candle for many.
“There are children for whom it’s a fertile experience, even if it’s only for one film, even if they never make a second one. I am thinking of the character of little Ryan: perhaps he will only make one film, but this film will have arrived in his life at a pivotal moment when he only has violence to express his anger. And suddenly, the cinema provides him with other tools to express his emotions. For him, it is cathartic and saving at this precise moment. »
Look at each other with pride
Conversely, we guess that Lily will make other films: beyond her considerable talent and her natural photogeny, she has this magnetism around which all cameras tend to gravitate.
Moreover, the interpreter of this character, Mallory Wanecque, shot two other films after being nominated for the César for female revelation for The worst. In many respects, she is reminiscent of a very young Sandrine Bonnaire: the same fierce energy, the same overwhelming spontaneity. And then, isn’t it as a non-professional that the star ofTo our Loves And No shelter, no law once made its debut?
Romane Guéret nods, obviously delighted:
“What’s beautiful about Mallory is that she has a blast. It’s not the glitter or the high life that interests him: it’s working on the character. It makes us madly happy to see what’s going on for her. Her trajectory basically resembles that of her character: we do not know the direction she will take, but whatever happens, she will have lived this experience where, for the first time, she felt looked at, and where she is herself looked upon with pride. »
The film The worst hits theaters May 5. François Lévesque was in Paris at the invitation of the Rendez-vous Unifrance.