Why did you want the main subject of the film to be a hidden love affair? As in my first film, what interests me is how a character frees himself or not from the environment from which he came, his ability to invent something else, something unexpected. In Aline , the forbidden adds tension, it makes the relationship more romantic. Love has to occur at night, in the woods, under the moon. But to tell the truth, for me, the main subject of the film is still elsewhere. Rather, it is how literature or art in general can help us sustain life, open doors and broaden our vision.
Are you particularly interested in the topic of secret relationships and are you planning to make other films on this issue? I am preparing a short film that does not deal directly with this issue.
But I am always interested in anything of an underground nature. This film is inspired by a novel by Charles-Ferdinand Ramuz published in Alban reads this novel in the film and identifies with the young heroine, Aline, who lives a budding love with a village peasant, Julien. I wanted to embody this in the image, so that it was not just an idea, so we can see in Alban the face of Aline. The impossibility for Aline to live a relationship in the open with Julien because they are not of the same background is still alive for Alban today, for other reasons.
Morality prevails elsewhere. I wanted it to be more femininity than homosexuality in Alban. I have the impression that the discovery of homosexuality for a young teenager has been addressed a lot in cinema.
One can imagine that his past in love is complicated. To this comment, Alban responds with a withering stare. That is what I explained earlier, it gives more scope to what he is experiencing. I also liked that it might instill doubt in us: is he fantasizing this story or is he really living it? Would you say that the short film format has given you any particular freedom?
