The actress receives the Donostia Award while presenting in Perlas outside the official section ‘Fuego’, by Claire Denis, and in the competition ‘Le lycen’, by Christophe Honor. San Sebastian is entirely yours
Of all the things that can happen to you in life, one of the best is Juliette Binoche. And it’s not that we say it, but given the case too, but that the entire city of San Sebastian shouts it directly. Wherever you look, she is. Not only will he receive the first Donostia Award of the 70th edition that concerns us on Sunday, but also his is the protagonism of both the penultimate film by Claire Dennis, ‘Fuego‘, as of the last of Christophe Honor,‘The High School’. The first is part of the Perlas selection and the second is one of the obligatory appointments of the competition (by the way, does this last coincidence make sense?).
Well, the actress (Paris, 1964) planted herself in front of the press early in the morning and, with no intention of closing anything, set out to take stock of everything. Or almost. Prize thing. “I feel privileged,” she said by way of introduction. Answer a question about age, time and life. Concrete was not the question. “I have always maintained a balanced relationship with the directors that I have worked on that discusses the standardized way of relating beauty and youth. I have not frequented that type of cinema that does that.” Pause. “For me it is fundamental to consider my work as a leap into the unknown, as an adventure towards the new. Always. You have to work outside the sexist codes. I like independence very much and I have always been able to detect immediately when it was not given”. It is clear.
In truth, few actresses have made the cinema so capable of everything and, incidentally, so interested in herself, in her position within the scene, in the cinema, in her own career. Juliette Binoche He loves to recognize himself in the mirror that gives him back the precise image of, in effect, Juliette Binoche. A part of her filmography, in fact, takes place precisely in that intimate and slightly sacred space in which the actress contemplates herself without masks. occur in Trip to Sils Maria, by Olivier Assayas; also happen in ‘Certified copy’by Abbas Kiarostami, and, in its own way, something similar was seen again in In a muelle de Normandaof Emmanuel Carrer. In the first she gave life to an actress, in the second her character was at the center of a controversy about the truth and her double, and in the third she was a journalist pretending to be someone else. All three are three late works and all three talk about masks, age, time and life.
Binoche says that she does not regret anything. Neither on nor off the screen. He does not despise even his role in a Godzilla (there he was) nor his most celebrated and early works alongside Leos Carax as ‘The lovers of Pont Neuf’or next to Michael Haneke (unknown code), or with Anthony Minghella (‘The English Patient‘), or with Krzysztof Kielowski (Azul)…
“And I also don’t miss the ones I’ve turned down or even the ones I didn’t get,” he adds. And at this point remember when as a young man the recently deceased Jean-Luc Godard I called him for a role. “I worked as a cashier to earn a living and in the afternoon I went to do the casting. I remember that I showed up with conjunctivitis. One of the tests consisted of reciting a poem by heart and doing it naked. Very hard and very intense. In the end, he didn’t take me for the part, but he did create a character for me. The shoot was very hard. Godard worked as if he were looking for something he couldn’t find. You had to be at his complete disposal for months. constantly red with pure emotion…”, she says, and in the detailed description of the past there is something like a tribute to the teacher, a recrimination perhaps and the certainty perhaps that is precisely where it all started. he talks about‘I salute you, Mara.’
Binoche insists that the important thing is yet to come. A series, a new film with Uberto Pasolini… Binoche says that he is not capable of specifying whether the cinema of the past was better than that of now or simply “memory always keeps the best”. Binoche declares his love for Isabel Coixet with whom he worked in ‘No one wants the night’. Binoche refuses to talk about her personal life. Binight…
And his side, and without warning, Denis reveals Binoche’s secret: “She puts the same passion whatever she does: in the kitchen, in the education of her children, in the garden and, of course, in each scene that shoots . Her beauty is her strength.” Binoche is at least three times Binoche. At least this year in San Sebastian.
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