President of the Revelation Jury of the Deauville Festival, of which she was a member in 2014, Clémence Poésy discusses with us her experience in this area. And his tastes in American cinema.
Return to Deauville for Clémence Poésy, who is one of the regulars of the festival. One year after having presented the film Resistance in preview, the one who had presented her New Hollywood Prize to Daniel Radcliffe, her partner of Harry Potter and the Goblet of Fire, is now at the head of the Revelation Jury … of which she was part in 2014. The opportunity to discuss this experience and her tastes in American cinema with her.
AlloCiné: You were already part of the Revelation Jury in 2014. How much does having this position change your way of seeing films, even as a spectator?
Clémence Poésy : We never see films quite the same, as jurors as spectators. In my life, I never see so many films a day and at this rate. So that’s another way to dive into a movie bath.
It’s true that in festivals, I don’t read the summaries at all. I try to arrive as virgin as possible in front of the films, whereas in life, we choose our session, we go with expectations, which I try not to have there at all. It’s another way of being a spectator.
When you were part of a jury, do you closely follow the filmmakers you have rewarded afterwards? I am thinking in particular of Ana Lily Amirpour who received the Revelation Prize in 2014, and who is currently in Competition in Venice.
It’s true that Ana Lily Amirpour, we felt that there was something. It is such a promise of cinema. And it’s interesting because, that year, there was Whiplash, and we all understood. We had all taken a huge slap and we felt he was going to triumph [il a remporté le Grand Prix et le Prix du Public, ndlr].
And, on our side, there was the idea of going for a real revealing prize, because we felt that the recognition of Whiplash was perhaps already more installed. The proposition of A Girl Walks Home Alone at Night seemed to us more to correspond to this term of “revelation”. Very well even.
There must also be the satisfaction of telling yourself that you weren’t wrong.
Yes. And the other day, I was talking with a director about a movie to make together, and he told me that his girlfriend was a producer and that she had produced a film that the jury that I was on had awarded in Locarno. And she wrote to me. But often we keep a little link. And there is something quite moving, especially about the first or second films.
Emma Stone can do everything, it’s depressing.
Even as a spectator, there is something pleasant about noticing an actor or actress, and seeing them evolve.
It’s funny because we were talking about Emma Stone with Lomepal [membre de son jury, ndlr] yesterday. And I think we’re both pretty fans (laughs) I said I remembered seeing her in a comedy, a teen movie called Easy A, when I was in America. And to tell me that there was something that was going to explode in this girl. It was clear from the start.
And she knows how to do everything besides, it’s depressing (she bursts out laughing) Finally, good for her. Even in a musical she does. This girl is wonderful.
As a spectator, is there an American film that you remember as the first that you would have seen?
I think like everyone else he’s a Disney. Well, maybe not like everyone else, but I’m pretty sure it was a Disney, although I can’t remember exactly which one. Afterwards I was bottle-fed to the musical from the great Hollywood era. Our parents, my sister and I, showed us a lot of movies like Singing in the Rain or Tous en scène. Films that we have seen repeatedly.
Is there a director from the United States that particularly stands out for you?
Some Terrence Malick films continue to haunt you long afterward. Some great Michael Cimino movies too. Westerns too, and I think more of a movie like Jeremiah Johnson, and even this whole wave of peaceful 70s westerns that are very dear to me.
And there is a film that Nicolas Pariser made me discover when we were preparing a film together [Le Grand jeu, ndlr] : Reds by Warren Beatty. A rather flowing film which remains a very great memory of American cinema.
Do you have a favorite actor or actress? In addition to Emma Stone.
(laughs) I’m quite a fan of Diane Keaton.
What was your last American film crush?
My last real crush is Marriage Story. I found that there was something of great delicacy and great accuracy. You could feel the life there. And what’s always beautiful about what Noah Baumbach does is that it keeps a sense of humor, an eye that from time to time borders on the most dramatic things. It’s starting to go up a bit, but I think it’s my last crush.
Interview by Maximilien Pierrette in Deauville on September 5, 2021