The first time Joe Alwyn came to the Cannes Film Festival in 2018, he walked away with the Trophée Chopard. Now he is back to help director Claire Denis compete for the Palme d’Or with Stars at Noo…
: It was amazing. She’s unlike anyone I have ever worked with, and her sets are unlike any other set I’ve ever been on. She is a force. She is completely singular and of herself and a real orator. She can be both fierce in knowing what she wants and then incredibly tender about what she wants.
It feels like she discovers everything in the moment and in such a way that… I don’t know. I think I’m probably still working out how she works. I don’t think I’ll ever work out how she works. Maybe she wouldn’t be able to answer either. It was definitely the most unique experience I’ve had with director on set, but I think she is completely grand.: My character is a mysterious English businessman who’s pretty enigmatic and we don’t know a whole lot about him or why he’s in Nicaragua. He falls into the path of Margaret [Qualley]’s character or vice versa. And they’re both sort of playing a game and sort of pretending to be someone they’re not amidst this backdrop of political unrest and turmoil and complete mistrust. An environment of complete mistrust. But amidst that, these two strangers, who themselves don’t give a lot away really about what they are at heart, fall for each other and have some strange kind of connection, but then they fall into trouble. Well, he particularly falls into trouble and they have to escape to the border together. Or they have to escape to the border,together. That’s the narrative of it, but I think as much as anything, reading it, it was about those moments of tenderness between two people that managed to break through in an environment and world of mistrust and games and falsity.: I only had a choice to approach it a certain way because it came about quite last minute and the whole shoot was kind of up and down in the air and thrown together right at the last minute, so there wasn’t a couple of months to think about it. It really was just digesting the script as quickly as possible, getting what you can from that, thinking about bits and pieces of backstory that perhaps could lend itself to something deeper, but more than anything, just jumping in on instinct from what was on the page and going with that and also going with Claire and seeing where she felt. Not just in terms of character story, but you’re almost informed as much by the way that she’s making the film and the feel of it. I feel like it’s so much guided by tone and atmosphere as much as it is kind of academically doing her homework about who this character is or where they’ve come from, like with all of her films. I think this one is slightly more narrative driven than some of the others are, almost animalistic and driven by feeling as much as much as dialogue. Dialogue seems to sit on top of everything else in her films, like a kind of soundtrack. It’s more about feeling, and that’s obviously created through character and actors, but it’s also so much about everything else, the world and the tones and the colors and the camera and the music. You are just a part of that. I think a part of the images that she creates, it’s all about the images that she creates.: It was incredible. I’d never been to Panama before. Everything was shot on location, so we got to see a fair bit of Panama, but also, we were really at the mercy of the weather, which was interesting. It’s great being on the soundstage and it’s amazing seeing the worlds that you can create in a studio, but there’s something about being on location that just gives itThat can both be amazing, and it can also completely mess with the schedule because you want the sun and it’s a tropical rain or you want tropical rain and it’s sunny. We were literally at the mercy of the weather and the world around us, but there was something really special about that. It was incredible seeing the locations that Panama had to offer and the people there were so friendly. The crew was amazing. It was quite chaotic in some ways just because logistically there was trickiness because you can’t control the sky. But it was a beautiful place to shoot and I’m really happy we shot there.: The highlight was really, first and foremost, Claire. And of course, Margaret and Panama, and everyone that we collaborated with.shot it, and everyone was brilliant, but Claire was at the helm of it. Seeing the way that she worked out how to work, and what she wanted, how she communicated with the heads of department around her, and how she functioned, was amazing. She’d be in the trunk of the car. We’d be driving around town with her. She’d be locked in the trunk, screaming out instructions in French to us who were sitting in the car—crowded with like five other people filming us—and she’s just bellowing out what she wants. She’s just a force like nothing else. I’m really lucky to have gone on that mad ride with her. DEADLINE: This is your first time back to Cannes after you won the Trophée Chopard in 2018. What does it mean to you to have
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