Where did the desire to make this film, Moi aussi, stem from?
As soon as something inspires or moves me, I very spontaneously feel like writing a film. The way in which I live my life makes me think in terms of images. When I began receiving all of these testimonies on Instagram, and then by email, I told myself that they needed to be materialized in a project that gathered everyone together. This desire was associated with the idea of finding a form that is at the opposite of the way in which cinema seizes and possesses, sometimes at our own expense. It’s an aesthetic and philosophical matter: how can the form of cinema be used without having that same ascendancy as the filmmaker. I won’t say that I manage to answer this question, but I try to offer some way to go about it. It is the beginning of a process of reflection, of a very unique work on language, which is quite similar to that of childhood, through these simple motions that the people in the film execute without ever being forced to. I was counting on everyone’s intentional participation in order to tell the tale of silence, of traumatic memories and nightmares, without turning it into a documentary where people simply face the camera.
How do you feel about your film being selected for Cannes?
When we filmed it, we never thought of that. Of course, every dream of cinema circles back around to Cannes. I lived some incredible moments here, as in 2002 when I was a part of the jury of the Cinéfondation with, amongst others, Martin Scorsese, Abbas Kiarostami and Tilda Swinton. But you mustn’t forget that it is a place where the dream can easily turn into nightmare. The moment I lived here with Harvey Weinstein shows how the system plays with the gullibility of young women. I managed to escape from that hotel room at the Eden-Roc, but before fleeing I had to go there, because he was buying the film. In the end, this encounter should have never happened; everyone knew what would happen to me there. With my short film, I had the feeling, on the contrary, that I was able to fix my own presence in Cannes through some sense of control and activism, because Moi Aussi was created with an attention and consideration to the other from start to finish. I will climb the stairs while holding hands with the film’s technicians, who, for some of them, are victims too.
You were part of a gathering in front of the CNC last Monday, that called for the withdrawal of Dominique Boutonnat, whose trial for sexual assault on his nephew should take place next June. His defendants argue that his or her replacement could be right-wing; how would you respond to this?
I, of course, support the approach of several feminist collectives. This argument shows terrifying cynicism. We want to suggest other names for the government. But beyond the Boutonnat case, it is urgent that we reform our jobs and institutions so that this type of situation can never happen again. Workers of the filming industry think that, because we do a labor of passion, labor laws that regulate other fields do not apply to us. In truth, it would be necessary to create some sort of framework – which is for now completely inexistant – through which producers and filmmakers would lose funds in the case of abuse on their sets. The implementation of people that act as points of contact for harassment does not work. The training programs against sexual and sexist violence at the CNC are laughed about by the workers of the field. And one must confess that there is something inherently ironical about this training, that is put forward within an institution whose president is being indicted for sexual assault.
You recently obtained, through the national assembly, the implementation of a commission of inquiry about sexual violence in the filming industry. We saw you being very moved when this was announced.
Yes, because so rarely in my life have I felt at the right spot in such a way. I stand by my struggle, even if it is difficult. The political and parliamentary journey is still a long one, but this is a promising start. I do not wish on anybody what I have experienced. I do not wish on any actress to think that she will never get another role. I got some death threats, people immediately attacked my daughter. When I look at the young actresses of the ADA, at their courage, I do feel hopeful again, even if I am aware of the fact that their struggle prevents them from seizing some opportunities. Today, I no longer am ‘the wife of’, ‘the muse of’, ‘the actress of’; I am myself.
Moi aussi by Judith Godrèche, with Tess Barthélemy, France, Un Certain Regard
