Ludivine Sagnier: "The autumn of my life is still far away"

“When I shot my first film with François Ozon, I was nineteen. We made three in a row in a short time, and maybe after experiencing very strong and intense emotions together, we were a bit tired. We promoted the three films around the world, enjoying great success. Then came the time to go our separate ways and now, we’re back together.” Thus, Ludivine Sagnier returns to be directed by the French director and screenwriter by joining the cast of the mysterious drama When Autumn Falls, a story of a mother and daughter with a dysfunctional relationship that worsens after a suspicious poisoning. “Valérie doesn’t evoke immediate sympathy,” the actress adds when speaking about her character. “From the beginning, she has a hostile attitude, but as the film progresses, we understand where her vulnerability comes from. She had a difficult childhood, in a rural environment where she was probably mocked because of her mother’s past, and she took a long time to find her place in the world.”

Indeed, it is relationships that When Autumn Falls addresses, feelings of guilt never soothed, and the sometimes futile quest to accept what once hurt us. Especially when it comes to a parent-child relationship, which is precisely what Ozon’s work explores. “Each of us has unspoken issues with our parents and must find the right balance to deal with them,” Sagnier adds. “That’s why the theme of the work is the ability each of us has to forgive. I think the toxicity that emerges from the mushroom metaphor is perfect to represent the harm often passed down to children.” Holding the reins of the film are the “mothers” Hélène Vincent and Josiane Balasko, who not only reaffirm François Ozon’s affection for female characters but also show how, for this work, he chooses much older protagonists, which is not commonly favored in cinema.

“There are more and more roles for older actresses and it is important that we’ve reached this point because there is finally a desire to show a woman at every stage of her evolution,” reflects the actress. “With When Autumn Falls, Ozon makes a militant feminist statement by choosing two protagonists aged eighty and seventy, whose wrinkles reflect their life experiences. Also because otherwise, there’s a risk of categorizing and relegating these women solely to the roles of grandmothers who look after grandchildren and bake cakes.” And she acknowledges a merit to Italian cinema that isn’t afraid to portray older characters, citing Paolo Sorrentino with whom she worked on the series The Young Pope and in which she hopes, if the opportunity arises in the future, to act again, perhaps in Italian, after having learned a little during the production of the second season.

Another decision made by Ozon was the desire not to give in to the frenzy of contemporary cinema, which increasingly demands speed and adrenaline on screen: “We need all kinds of films,” the actress comments. “I don’t claim that only one kind of cinema is necessary. The decision to make When Autumn Falls contemplative came from Ozon’s desire to reflect on the passage of time by choosing a slower pace, which goes against his usual rhythm of making almost one film per year.” A slowness deliberately sought in the staging, serving to accompany the viewer into the drama, enhanced by touches of thriller and unexpected elements, sometimes even turning into a ghost story. “The idea of spirits belongs to all cultures and is often a manifestation of those who have left us, as is the case here,” continues Ludivine Sagnier, highlighting Ozon’s influence on set. “Ozon works actively behind the camera, choosing the frame and practically assuming the role of director of photography. He is not just the conductor, he’s at the heart of the action.” And while When Autumn Falls is tinged with twilight, Ludivine Sagnier continues unbothered by time: “The autumn of my life? It’s still far away.”