Since winning the prestigious Golden Lion at the Venice Film Festival just over a month ago, French-Lebanese filmmaker Audrey Diwan has emerged as one of the most exciting and relevant new voices o…
Working with a tight budget, a fairly unknown lead actress and a polarizing topic, Diwan was able to deliver a nuanced and relatable portrayal of Anne, a bright young female student determined to rise above her social upbringing who faces an unwanted pregnancy in 1960’s France — at a time when abortion was considered a crime.
Although it takes place in the 1960s, the film could not be more timely, especially in the U.S., where conservative states like Texas are passing restricted abortion laws. The Supreme Court’s first case early next year will be a challenge to Roe V Wade. By the time she started writing the film, Diwan says that she became aware of Poland’s ban on abortion and was “stunned” when she discovered what was happening in Texas while traveling to Venice. “The more I worked on the script, and the more I realized how contemporary it was, but I wanted to tell a story that took place in the past and give it a modern edge that would allow people today to identify themselves to the characters.
“The framing was also very important to allow the viewer to feel immersed in the story and see everything through her eyes; so the camera follows her gaze and every move,” says the helmer. The decor and reconstitution of the 1960s are there, but it only serves as the backdrop.
“It’s never exploitative, but it keeps you on the edge of your seat because this character is holding a secret; so basically, it plays out like a thriller, and that’s an incredibly hard thing to do on a subject like this because it doesn’t distract from anything else or doesn’t hit you over the head.”
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