Sylvie Testod: "Pierre Cousteau in 'La Boum' gave me my first feelings"

Sylvie Testod: “Pierre Cousteau in ‘La Boum’ gave me my first feelings”

The Stupeur et Tremblements actress, who is a member of the jury of the 36th annual Romantic Film Festival, does not hide her love for fantastic love stories on the big screen. Meeting in Cabourg.

Paris Match: What do you like most about romantic movies?
Selfie stud. What is romance after all? Love is in the situations we live in but we also keep dreaming. Some will say I’m a shopaholic, but I don’t think so: When you let your emotions run through you and you love dreams, you love romance. I like “Out of Africa” ​​for example, or “On the road to Madison”. Sometimes great love movies are not what you think. Take “Kramer vs. Kramer” for example: a story of divorce but at the same time one of the most beautiful love movies. I think cinema will always be about love. It’s what he does best.

Have you ever fallen in love with a fictional character as a viewer?
naturally. When I saw Joaquin Phoenix in Two Lovers, I wish I had entered the screen [rires]. Or even Gerard Depardieu in The Woman Next Door. And when I was 12 years old, Pierre Cousso in “La Boum” gave me my first feelings.

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And as an actress, have you ever fallen in love before? Who is the actor or character in front of you?
We’re still in love at the time of the sequence, otherwise we’re not investing enough. But it is an instant feeling that fades as soon as the lights go out and the door closes. As François Truffaut said, cinema, in a way, life is accelerating. We love each other or hate each other at high speed.

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Today is 7The tenth Art dares to tell all the love stories or are there still taboos?
Here, in Cabourg, we’ve really seen films where couples invent new forms of life. Things I’ve never personally seen before.

If Polanski offers me a role, I hope I will have the strength to decline.

She has portrayed many strong women on screen. Do you feel like a role model for women today?
Strong women, yes sometimes, especially when she did “Sagan” (by Diane Corres, 2008). It was in the context of Agnès B. or Sonia Rykiel: women who live freely without being active at all. They lived their lives as they saw fit, leaving others the right to think what they wanted of them. True freedom, that’s it: insane power, without spread of power. The need for jihad and display is already a loss of liberties. Unfortunately, many women are forced to do this. Moreover, I go crazy when I see that women still have to fight for such and such. Especially since those who are hard-liners are often viewed poorly: there is a rather intolerable double penalty.

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You are not active?
Fortunately, I didn’t need to be either. So sometimes I get that label because I’m an actress and I smoke jurists [rires]. But I have not participated in any protest since I was 14 years old.

What do you think of Adèle Haenel’s decision to stop shooting for well-known directors and prefer only beginning artists or director Celine Siama with whom she has a close artistic relationship?
I understand it perfectly: you have overcome painful ordeals that are hard to imagine. She has all my respect. Society needs women like her. I thank her for the future generation of which my daughter is a part.

Adele Haenel also rose up against Roman Polanski. You, today, can you turn to him?
Oh, I never asked myself that question. Originally, I respected his work as a director, but now, how would I describe it, this whole story is starting to matter a lot… So if he ever offers me a role, I wish I had the power of refusing.

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