Gilles Lellouche’s film “Leurs enfants après eux,” adapted from Nicolas Mathieu’s acclaimed novel, explores themes of unfulfilled love and societal changes in 90s France. With directors Ludovic and Zoran Boukherma at the helm, the film captures the era authentically through visuals, family memories, and music that resonates deeply with the characters’ experiences. The soundtrack blends American and French influences, creating a rich backdrop that reflects both youth and adulthood, culminating in a poignant moment of unity among the characters.
Gilles Lellouche’s Vision for “Leurs enfants après eux”
It’s a well-documented fact that Gilles Lellouche initially enlisted the talents of Ludovic and Zoran Boukherma to co-write and co-direct “Leurs enfants après eux,” which is based on the acclaimed novel by Nicolas Mathieu that won the Goncourt Prize in 2018. This project was originally envisioned as a mini-series.
However, Lellouche’s long-cherished dream project, “L’Amour ouf,” ultimately took precedence. As a result, the directors of “Teddy” and “L’Année du requin” took complete control of “Leurs enfants après eux,” which premiered in theaters on December 4. They were determined to transform it into a cinematic experience, believing it deserved a grand visual treatment, as they expressed during our interview.
Capturing the Essence of the 90s
It’s no surprise that Gilles Lellouche is captivated by “Leurs enfants après eux,” as it shares thematic parallels with “L’Amour ouf.” Both films delve into the complexities of unfulfilled love across time, transporting audiences back to the 90s through its visuals and soundtrack. But how does one authentically recreate an era that feels so close to us?
“It’s challenging to accept that the 90s have become period films since many of us experienced them first-hand,” Zoran Boukherma reflects. “Born in 1992, our childhood memories are steeped in the 90s. Collaborating with our production designer, Jérémie Duchier, we explored countless family photos, ensuring that the settings were depicted authentically and avoiding a romanticized version of the past.”
They also immersed themselves in documentaries like “Strip-Tease” to capture intricate details. “We still hold vivid memories of the 90s, which come alive through small tokens of nostalgia—video games, CDs, cassettes—elements that enable us to reconnect with that time. Yet, we aimed to avoid overly glorifying the 90s; it was a delicate balance for us. We wanted to create a period film without excessively paying homage to that decade.”
The backdrop of the 90s serves as a reflection of social changes, highlighting the generational shifts following the 80s and the fragmentation of the working class. The characters Anthony and Hacine exemplify this divide, representing a world that, while shared, is increasingly polarized. “The film encapsulates the end of steelmaking and the social upheavals that led to the France we recognize today, characterized by divisions,” Boukherma explains.
Interestingly, the film culminates on a hopeful note in 1998, coinciding with the World Cup semi-finals and the illusion of a united France. “This moment symbolizes a temporary reconciliation between Anthony and Hacine, yet we know that societal fractures would soon re-emerge,” he adds. “Our interest lies not only in the historical setting but also in its relevance to contemporary France.”
Music plays a vital role in this cinematic journey. “We shared a common vision for music to be integral to the film,” Ludovic Boukherma shares. “The book itself is steeped in musical references, with each chapter featuring a song title. We recognized that music resonates deeply with us, becoming a unifying element that connects characters and audiences alike.”
American influences also shaped the film’s musical landscape, as the directors grew up immersed in American cinema and music. “Incorporating American tracks into a French setting creates a unique dissonance that mirrors the complexities of adolescence,” Boukherma adds. Although they faced challenges in acquiring certain rights, they replaced Nirvana’s “Smells Like Teen Spirit” with “Under the Bridge” by the Red Hot Chili Peppers, which perhaps added a greater emotional depth to a pivotal scene.
To enrich the film further, they included a piece by Francis Cabrel, “Samedi soir sur la Terre,” to reflect their regional roots. “We aimed to harmonize well-known songs with the original score, crafting a film that feels both expansive and intimate,” Zoran Boukherma notes. “Amaury Chabauty’s compositions blend pop covers with original arrangements, connecting the music to the characters’ journeys.”
In their quest to avoid mere nostalgia, they sought to intertwine music from various decades, ensuring that it resonated with the characters’ experiences. “For us, American music represents the essence of youth, while French variety symbolizes adulthood,” they explain. “This distinction allowed us to craft a soundtrack that truly echoes the characters’ lives.”
One particularly poignant song from the book, “Que je t’aime” by Johnny Hallyday, serves as a powerful moment in the film. “It symbolizes unity, as characters come together to watch a fireworks display, momentarily setting aside their differences,” Zoran Boukherma concludes. “Ultimately, our ambition for the film was to create a sense of connection and togetherness through the use of music.”