00:00:00: Hi, movie breakers!

00:00:01: Still at Shanghai SoulTestival with our next competition movie that we are talking now about the director of The Parking Spot or the preferable original title The Black Glass which would mean translated The Place.

00:00:13: Much more meaningful.

00:00:15: and here's Louis Gottbuu.

00:00:17: How has Shanghai been treating you?

00:00:19: Actually wonderfully.

00:00:21: I had no expectations because... ...I've never been in my life east of Cairo.

00:00:25: The whole Eastern vibe was something to discover.

00:00:28: And then this city You know, bustling and buzzing with cinema was so far a tremendous experience.

00:00:33: I'm enjoying it very much.

00:00:34: Your film is running at the Shanghai International Film Festival in competition.

00:00:38: It's my third film as filmmaker.

00:00:41: The stadium seems buried cracks that just suddenly can open up in everyday life and the psychological abysses, that Yon and everybody can stumble.

00:00:52: And so you've been a professor of philosophy?

00:00:56: Has this inspired this very deep theme?

00:01:00: Well, there's two inspirations.

00:01:02: One is very mundane.

00:01:04: as a driver of a car I've been quite often in situations where you get into not necessarily dispute but tension with other drivers being passing someone passing on the right on the road or even quarreling over a parking space.

00:01:18: And I thought that this kind of banal incident is very elemental sort of conflict and when you're in such situations, it can be your car or waiting in line at supermarket.

00:01:29: there's slight tension between two people.

00:01:32: these things go quickly south depending on minor thing.

00:01:37: so what i like about idea to have a minor incident open up into something much bigger involving certainly psychology, because as soon as the ego gets in the way and pride something very simple can spiral out of control.

00:01:51: But also on a broader sense sometimes fate destiny enters through little side doors.

00:01:58: like that small incidents you realize afterwards have changed completely the trajectory of your life.

00:02:05: so... That's what I was interested about!

00:02:06: So it is an interesting concept.

00:02:07: do you believe in a fate or predestined road we cannot escape?

00:02:12: Well

00:02:12: not.

00:02:13: You could look in the great big book of life and find your whole life written down, but certainly retrospectively.

00:02:22: When you look at your life, all those little rows that you've taken.

00:02:25: All the small decisions do amount to some kind of destiny or fate.

00:02:29: when you live your life things don't appear that way because You will have to make Decisions.

00:02:34: and so from this subjective perspective?

00:02:36: You still have to Make these decisions even though From a broader perspective they can Look like faith.

00:02:41: in other words Fate realizes itself concretely In our decisions in Small Things That Happen.

00:02:47: So in that sense you Can say I believe in Faith but not The Kind Of Fate Where Someone Could say, I don't have to decide anything anymore.

00:02:54: Fate will take care of

00:02:55: it.".

00:02:55: No, fate actually does enter your lives through major events but also through little decisions that you make.

00:03:01: in the film.

00:03:02: what happens to the character is and actually The Antagonist, this stranger tells him at one point we never really know until it has happened, is very hard in the moment to judge the importance of something.

00:03:14: It's in the aftermath that you see the consequences that he had.

00:03:18: so In that sense You can say all our little decisions and everyday occurrences Can be fateful carrying a very big weight The sense they reorient direction Our lives are taking.

00:03:29: And there also interesting concept trying to reverse fate.

00:03:33: because at later point main character having this experience fighting for parking spot tries move the cars again to get your original parking spot.

00:03:43: so you kind of try to reverse what has happened.

00:03:45: But even though it superficially seems to succeed, It doesn't seem change anything since he kinda lost some existentialist battle.

00:03:54: What he does is in a sense we all do He tries to resist something impose himself You know?

00:04:00: In French title of film La Place that's how we refer to a parking spot We'll say la place et libre.

00:04:06: but its also this situation also the place that we occupy in the world.

00:04:11: He's trying not only to get the parking spot back, but to reassert himself his place in the World.

00:04:18: so thats why he feels compelled to resist and fight Stranger until eventually maybe he realizes.

00:04:27: It

00:04:29: seems also to be a certain concept or constitution of psychological stability, which then slowly starts to erode over the course.

00:04:38: That's

00:04:58: one way to see it.

00:04:59: We are always involved in that kind of... Sometimes, It is very obvious you're actually competing.

00:05:04: but all relationships we have with other people involve a form of need and desire for us to exist In the eyes of others To be recognized.

00:05:15: Of course The Other People Have the same desire towards Us.

00:05:19: There Is Always Some Kind of Battle Confrontation.

00:05:22: Will I Be Recognized?

00:05:23: Will The Other Person Recognize Me And At What Costs?

00:05:26: How far am I willing to go?

00:05:28: Jonathan's character is also struggling To be recognized in the sense that as his wife, she has Also desires and wishes for them.

00:05:36: And She wants That to exist In the eyes of her

00:05:38: husband.".

00:05:42: Now we very elegantly move to The gender themes.

00:05:45: Thanks to your answer At least this conflict happens between man.

00:05:50: It seems much more likely Man get into these kind petty conflict.

00:05:56: I would even say that it's a nineteen ninety percent probability, this wouldn't ever happen between women.

00:06:02: That they've got fussed like that about parking spot?

00:06:04: About a place maybe in line at the supermarket or a seat on the train... Or a seat and

00:06:08: cinema?!

00:06:09: I also saw that colleagues!

00:06:11: It was right besides me too.

00:06:12: Is there is comment of masculinity or intracital masculinity, toxic masculinity ?

00:06:18: It wasn't meant as a comment but fact seems so obvious to you makes the film innocent.

00:06:24: It's an illustration of that alas, a reality.

00:06:27: You're right the question of status and fight for status is quite often a male thing And you can certainly imagine women in this same situation.

00:06:37: In film The Sister-in-law does say it When they have exchange.

00:06:41: once getting into department The brother-in law says these things spiral out control quickly.

00:06:47: Its very hard to let go because its about recognition His wife said sometimes.

00:06:53: And

00:06:53: there's even the fact that the sister of the partner, of the main character is expecting a child and his partner very much wants to have a child but for the time being couldn't.

00:07:03: There's not competition.

00:07:04: in contrary she's able be happy with her sister without feeling resentful or feel like she now has to succeed having children because their sisters are having kids.

00:07:15: so it's an even opposite situation

00:07:19: Absolutely!

00:07:20: That's a very large chapter of, we could talk about this for long time.

00:07:24: But the desire for status is sort-of a curse upon masculinity.

00:07:28: It forces men into battles which... The higher part of their humanity would most likely prefer to resist.

00:07:35: Men are often forced by there biology to do stupid things.

00:07:40: In such situations, it's always important to let a few seconds go by and allow higher functions take over.

00:07:47: It seems that women in such situation have quicker access to higher function.

00:07:52: but there is certainly competition for recognition on all sides of the gender divide.

00:07:59: We need to be recognized some way through love or achievement many other forms.

00:08:07: Is the central existentialist conflict of this film in some levels maybe also a class specific conflict because I had an impression that it's very specific for middle-class and upper-class?

00:08:23: comparable situation because underclass people don't have cars but with other class-people.

00:08:28: Is there an element of the film and did you think about this class specific aspect?

00:08:32: I do not think specifically, certainly when we had some forms of struggles taken care for example struggle to survive or struggle to eat or social recognition then human nature will tend focus on other struggles which might seem superficial, like for example the wounded pride of a man who has his parking spot taken away from him.

00:08:56: You don't imagine someone was struggling with very vital issues having time to take on that fight.

00:09:01: so I don't know if it's specific class problem but i'm sure class might have role in which struggles we get involved and seem important to

00:09:11: us.".

00:09:11: And another big rebel in your film is occupied by art especially The Art Of Goya.

00:09:17: black paintings or dark paintings as they are called and maybe some of you listeners know them, it's something that Goya did late in his life.

00:09:25: painted in his own house on a wallpaper when he was already in the state of mental decline.

00:09:31: So it's directly linked and applying after characters' mental decline, And why Goya?

00:09:37: Why these series?

00:09:38: what does that mean for you personally?

00:09:40: What do this paintings means to me For you and why?

00:09:43: The connection into films is also an inspiration for style?

00:09:46: I'm very happy That you notice because first Of all we had To make those little cars then We have shoot them In specific way but It basically I thought that those paintings and what they reflect would certainly connect with the character's state of mind at a time.

00:10:01: So, there is even one scene in this film whose only purpose was to show Egoia almost when he goes into his bathroom and sees an iPhone.

00:10:15: Globally, with respect to art... add some images of the tradition of the Vanitas in Renaissance painting and post-Renaissance.

00:10:28: So you'll see sometimes, there's a terrestrial glow behind one character... There is an hourglass somewhere else!

00:10:36: ...there are rotten fruit on the table.

00:10:38: so those are images that you can see from the Vanita paintings.

00:10:41: And Goya is also part of this aesthetic background of passage time and vanity.

00:10:50: From realism to a more expressionist style, was it difficult to integrate this kind of slide and how did you manage?

00:10:59: It is tricky because I don't suggest from the outset that will have fantastical touches.

00:11:07: You want the tone... The shift has to be acceptable for the viewer.

00:11:12: I put a few seeds at beginning with the clouds and of course, the rat in the opening scene in the garage just prepares the viewer some form of openness through an idea.

00:11:24: not magical realism, but symbolism.

00:11:26: Then I think using nature things that exist in nature But placing them in a weird context or in the surprising appearance for example of a fire Or something else.

00:11:35: That makes it transition relatively smooth because you're not forcing Something otherworldly on this.

00:11:40: everything stays worldly.

00:11:41: It's about realism and the symbolic touches are spressionistic touches.

00:11:45: fantastical touches Are lightly introduced Not overwhelming And they're directly related to The theme and meaning Of films The tone, I intend to somehow slip out of the realistic tone.

00:11:58: But i also want and that's why their first big image like that when he drives away in a country That first image is meant as a gate A signal that his entering another realm.

00:12:08: In a sense We're leaving part of this life And even apart from reality behind once we enter that final stretch.

00:12:15: Especially last chapter of film has seemingly strong inspirations From genre cinema.

00:12:20: So are you all

00:12:21: fan or horror?

00:12:23: I mean, I like a good genre movie.

00:12:25: But...I tread very lightly because i'm not the specialist of genre films and that's very coded so im trying to take too many risks with it.

00:12:33: but there are few genres films that ive enjoyed over the years.

00:12:36: Actually The next festival where this film is going in Montreal Is called Fantasia Film Festival.

00:12:41: It

00:12:41: was just

00:12:42: a genre film

00:12:43: Exactly!

00:12:44: And when the distributors suggested we go There..i was kind of surprised Because i didn't really see my film as a genre...it wasn´t really a genrefilm.

00:12:50: Then i said ok well let' see what they think about.

00:12:52: you know, will that fit their aesthetic criteria?

00:12:55: And then they like the film and so there gonna be programming it.

00:12:57: But I'm looking forward to that!

00:12:59: How was it find a cast for these very challenging roles?

00:13:04: The two of characters are Stranger and Brigitte –the wife–I've worked with before in something completely different kind of a group called Cynical Comedy…and i just...i know this.

00:13:16: two actors have a broad range.

00:13:19: They were going to be good for the world, especially The Stranger.

00:13:22: Benoit Guay?

00:13:23: I mean he has the stare...I wanted someone who could of course express a lot without saying much and have eyes that are both somewhat impenetrable in cold but at the same time not meme because I didn't want that character to be perceived as a mean or dangerous character.

00:13:39: There's something... To him, he said,"I want you to be implacable and both implacible and serene at all

00:13:45: times.".

00:13:46: And the other characters are Maxim Godet who plays the main protagonist, Jonathan.

00:13:51: I saw him in theatre very much and thought it was good expressing details within a narrow space.

00:13:59: Strangely enough, it wasn't theatre where actors usually play much broader but saw something in the eyes that putting the camera close on him, I could suggest very many nuances.

00:14:10: In one specific part of the emotional mood which is not necessarily gloomy but introspective reflective somewhat melancholic and so you don't want to have just one type of face for dad.

00:14:22: because then You say well The character was your sad the whole movie And he's not.

00:14:26: if she looked closely and did other characters?

00:14:29: I cast for the film there.

00:14:30: they are their couple.

00:14:33: I think they acquitted themselves very well.

00:14:36: the equivalent of The Voice in Quebec.

00:14:42: So he's a very good singer, but I casted him and we did some auditions And i thought it was really good in.

00:14:48: the role

00:14:48: Was is hard to get that story with this unusual themes?

00:14:54: Also an open ending which for Some viewers seemed to be very unsatisfactory Of course!

00:15:00: Was It Hard To Get That Produced?

00:15:01: Not so much But funny thing at the end... The Ending Which For me actually the first image In my mind of this film was the last one that you see in the film.

00:15:11: And I had that since writing The First Page Of The Screenplay, but knew exactly where i wanted it to end and i wanted with that silence at the end.

00:15:19: so then people commented on the ending a few times when they read It With The Yachters.

00:15:29: So I said all right, i'll write you a happy end.

00:15:31: And that's why we wrote the ending put in A Happy End and then had people read That with what they wanted and everybody agreed With me that The original idea was better.

00:15:41: so I know that People will be frustrated but for Me the film could not end any other way.

00:15:46: sometimes

00:15:47: Frustration would have filmed at certain level of frustration is a good thing?

00:15:51: I think so!

00:15:51: You know What They say.

00:15:52: they said your ending has to Be somewhat unpredictable but also necessary and that's how I feel with this ending.

00:15:58: To end it another way would have been a betrayal, i think of the story.

00:16:02: What would you hope dead viewers take away from this story if it could be one thing?

00:16:06: We only need to film to realize this.

00:16:08: But we do tend to forget in daily life is to appreciate The fragility of ordinary life.

00:16:19: There's something comforting about the way life seems to repeat itself, relatively uneventful and we feel that were just sailing until something extraordinary happens.

00:16:28: But that film is about the fact that ordinary lives are always a little boat on the ocean And there's world of unpredictability in forces That're just beneath the surface.

00:16:39: We don't usually feel like something happened but never know when it might happen.

00:16:44: It was simple idea.

00:16:45: Life is unpredictable and we never knew which minor incident or minor encounter will turn out to have been decisive.

00:16:53: So in that sense, life itself is kind of fantastical.

00:16:56: now it seems to be normal predictable but the truth is anything can happen at any time.

00:17:03: Speaking of things that can happen do you already have a new project?

00:17:06: That your working on?

00:17:07: Oh yeah I'm trying too.

00:17:09: Yeah Of course

00:17:09: Did You Like To Mention?

00:17:12: You Can Also Say No Because Out Of The People Say No.

00:17:14: If I Ask Their Question

00:17:16: globally tell you that I'm trying, risking dabbling with the theme of in-the-age AI.

00:17:22: It's

00:17:22: also very timely yes?

00:17:23: Yes but maybe two times we'll see what happens to it.

00:17:26: We definitely will and until then we can still see The Parking Spot which is now on Shanghai as soon as it has a local release.

00:17:33: You hear about this.

00:17:34: Thankyou so much

00:17:35: My pleasure thank you.