I sought refuge with two girlfriends who were living together and stayed for several months.
Id never been so much myself, or so free.
I wasnt playing the role that I wanted to play in my life.
(L-R) Souheila Yacoub, Sanda Codreanu and Noémie Merlant in ‘The Balconettes’Nord-Ouest Films
With my friends, I was free to be myself, even in terms of my body…
There was a release.
Their way of looking at things and listening was different.
The Balconettes
We talked about our relationship with sexism, misogyny and patriarchal oppression.
This place became our cocoon, outside we didnt feel the same freedom.
DEADLINE: The underlying theme is violence against women.
Its a topic youve been outspoken about in the past.
Why do you feel so strongly about it?
MERLANT: I had my first brush with violence when Id just started modeling.
I had a traumatic experience with a photographer.
I was 17 years old and had just left home and moved to Paris.
This is how its going to be.
I needed to talk about these experiences, and then I did my own investigation.
I wanted to, but I had to cut it to tighten up the story.
Its a way of keeping our heads above water.
I also wanted there to be vulgarity.
Theres something in vulgarity that is very true, very sincere, and intimate.
Its something that is not often shown or associated with women.
I wanted to give my characters permission to be vulgar.
Humor is also a way of reappropriating our stories.
Allowing yourself to make fun of your attackers is a very powerful weapon.
It was important to keep the absurd and comical tone…
DEADLINE: You play with genres in the film.
Where does that come from?
MERLANT: I knew I wanted there to be gore.
I grew up watching Korean and Japanese films, which mix humor, the absurd and horror.
Those were the only films I watched with my sister.
Another reference is Vera ChytilovasDaisies.
How did that come about?
MERLANT: Above all, Celine is a friend, and she also changed my life in several ways.
Firstly,Portraitchanged my career, because it was a film that had international resonance.
But beyond that, Celine changed my vision of how to work as an artist.
She has a really collaborative approach to working, which I havent always experienced.
She also changed my way of thinking about the female gaze, female desire.
It was afterPortraitthat I left everything and ran away to my friends.
DEADLINE: How did Sciamma contribute?
MERLANT: At first, I was writing alone.
I didnt dare ask her.
I didnt want to encroach on our friendship.
But Celine asked to read it and came back saying she loved it.
DEADLINE: How did you find it, mixing acting and directing?
MERLANT: There were advantages and disadvantages.
We saved and lost time.
That was a time-saver because I didnt have to explain what I wanted to achieve to another actor.
My sense of comedy was born with Sanda.
She is very, very funny.
She was always there with me on set.
She and my cinematographer Evgenia Alexandrova were my safeguards.
Celine was also there during filming.
Not all the time, but she came on set several times.
MERLANT: I just wanted to be free with our bodies.
Ruby simply wants to be bare-chested like a man.
I cant understand the difference between a womans nipple and a mans nipple.
When I look at the body, I dont sexualize it.
I wanted there to be a complete sense of freedom, liberation, showing everything from farting to cellulite.
MERLANT: That was terrible.
Well, nearly nobody.
There were people who wanted to but didnt dare.
I hope things are changing.
A space is being created but we need to take care to preserve and make it bigger.
DEADLINE: We were also expecting to see you in Cannes with Audrey DiwansEmmanuelle.
Where is that film?
Can you talk about it?
MERLANT: Ive just seen it, an unfinished version.
I think peoples expectations are linked to the 1973 film, but it has nothing to with it.
Were with a woman who is cut from her pleasure, from her desire.
Its done with ultra-elegant eroticism, and Audreys eye is so sensual.
This film is a powerful journey.
I came out of it with a real desire to live.
