Faire L’Amour

Faire L’Amour
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Faire L’Amour

Scritto da Djinn Carrenard, il film esplora la tematica della coppia attraverso i personaggi di una giovane donna uscita di prigione alla ricerca di sua figlia, e di un artista handicappato in cerca d’ispirazione. Oussmane è un musicista che perde l’udito e che vive una relazione senza amore con Laure, un’hostess di volo che cerca freneticamente di rimanere incinta. Kahina sconta la sua pena in un carcere dell’Ile de France. Beneficia di un permesso di una settimana per trascorrere il Natale con sua figlia di quattro anni. Questi due paria si avvicineranno amorevolmente durante questa settimana di permesso, attaccandosi l’uno all’altra con la passione dell’istinto di sopravvivenza. Kahina non riesce a vedere sua figlia, si innamora, ma deve tornare in prigione.
Nella storia abbiamo anche il personaggio di Carrenard, sorella di Kaina ed ex amante di Ousmane, della quale il regista ha detto: “Questa figura aggiunge una storia che non è tanto marginale, quasi una mezz’ora di film che aggiunge una problematica che mi sta molto a cuore: dove si colloca la felicità in rapporto alla morale? Io non voglio solo mostrare dei personaggi che trasgrediscono nel vivere il loro amore, io parlo di persone che attraversano dei limiti che pongono gravi problemi alle loro coscienze”

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Oussmane is a musician losing his hearing in a loveless relationship with Laure, an air hostess desperately trying to get pregnant. Kahina is a young woman doing time in a prison somewhere in Ile de France who gets leave for a week to spend Christmas with her four-year-old daughter. Oussmane and Kahina will fall in love during this week on leave, clinging on to each other with the passion of their instinct to survive. Kahina can’t see her daughter, Kahina falls in love, Kahina has to return to prison.

INTERVIEW WITH DJINN CARRÉNARD

Faire : L’amour is your second film and there is in the rock language what they call “the second album syndrome”: what can you do after your first film Donoma, which was very successful?
For this film, I wanted to explore the characters. Donoma frustrated me, because I was telling several stories and had no time to go deeper. I wanted less twist, less shock value because Donoma was a way to get into the film business. Now that the door is half open, Faire : L’amour is starting a discussion.

Faire : L’amour was shot again in guerrilla style. Do you need that in order to create?
I need the guerrilla energy. I will be done with that in the future, but for now, it is a drug: to shoot lightly, to feed myself from random events, to see signs everywhere, to be fuelled by adrenaline, to shoot as if it was an extreme sport. I was lucky because my partners (ARTE, Canal +, CNC and the Languedoc-Roussillon region) left me with a freedom I could not expect. Each of them had to call me once to check if I was still alive and they had been waiting, believing they would not be disappointed.

Faire : L’amour, like Donoma, is impressive by its energy, its vitality. At the same time, it is again a modern, bright and painful essay on loving relationships…
People in my film “make love” because love is not only made through intercourse. They make love, love the person who was given to them randomly and they will hit him/her with fatal blows by instinct because this is also love. To fuck is a detail, some incriminating evidence, nothing more. I hope that we all will have the chance to know a twisted love that can cost our life. I hope the film will be perceived that way, like an invitation to have our life messed up by an unknown person in the name of love.

Interview by Léo Soesanto

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