At the 50th anniversary of “Libé”, Isabelle Huppert “with complete fluidity” – Libération

2023-11-11 21:56:05

24H de Libération dossierThe Oscar-winning actress took part this Saturday, November 11 in the amphitheater of the Cité de la Musique in a masterclass exercise to answer, in front of the readers of “Libé”, a question: how to embody a character in front of the camera?

For its 50th anniversary, Libé is coming to the Cité de la Musique this Saturday, November 11 for a 24-hour festival. On the program: meetings between the editorial staff and the public around masterclasses, debates, live shows, concerts, etc.

“What accounts for your ability to transform yourself to fit into the characters? To your fluidity?” General hilarity following this question, which could not be more serious, asked by the public in the more than crowded amphitheater of the Cité de la Musique. But the question inspires the one that so many readers of Libé came to see this Saturday, November 11 at the end of the afternoon: Isabelle Huppert. “I really like this compliment,” the actress breathes with a smile. It is our way of moving, of moving, that creates our character. From our shoes.”

Solid, liquid: embodying a character in the cinema or in the theater is first and foremost a matter of state. “In cinema we play a succession of states, we don’t play a character.” But, already, talking about character sounds like nonsense for the Oscar-winning actress in 2017. “Jacques Doillon kept repeating that the idea of ​​character does not exist,” explains Isabelle Huppert in a soft voice. And I like this idea. It’s true that actors first play people, the character is an outline that must be exploded.”

Exploding the shackles of cinema

The last director who turned his camera on Isabelle Huppert cannot represent this idea better. “In 2023, we find you again in the eye of Hong Sang-soo,” explains Didier Péron, deputy editor-in-chief in the culture department of Libération. This director is very well known for blowing up these contours.” The actress can only nod. Breaking the shackles of cinema, this South Korean director does it even in his team.

“On the last film, there were three of us,” confirms Isabelle Huppert. There was no longer a chief operating officer, Hong Sang-Soo sheds light himself.” The room laughed once. “The camera is so small you can’t see it.” Twice. “There was no script.” Thrice. “And there was no sound engineer, just a girl with a boom pole.” General hilarity. Isabelle Huppert could have exclusively revealed the title of the feature film to Libération but… “I forgot it.” What’s the point, a scoop…

But this total freedom does not displease the artist. “It’s true that Hong Sang-Soo, like Paul Verhoeven with whom I was able to shoot, didn’t give me any guidance.” Enough to amaze his interviewers, Didier Péron and Sandra Onama. “But cinema is self-explanatory. Of words. It is a language that is developed in the moment. Here and now.” Cinema is “the power of the moment”.

Power of the moment and deafening power of the applause of an almost fanatical audience. So with a newly acquired fluidity, Isabelle Huppert seeks to slip away. It’s not knowing your audience well: they won’t leave without a little photo.