Her name evokes motherhood. Or its reverse. What’s more, the idea of the double is captured by a surname that suggests the other (anderen in German). Like the location where a good part of the action takes place (a valley in the heart of Europe), Maria Enders’s name also reveals the state of being at the junction between two cultures, the Mediterranean and the Teutonic. She finds herself at a halfway point, caught between the memories of a past, personal and generational, and a future with uncertain boundaries, represented by a world where reality is attested to by the approval of the online world rather than actual evidence. Probably no actress could better portray the duality of Maria Enders than Juliette Binoche. Not because she is the best, but because she is the most willing to tread unknown territory. Clouds of Sils Maria is a film that seeks to describe the void that obsesses every actor, when they are not yet acting, a film about what comes before and after the film.
The conversation with Juliette Binoche in the Forum space will deal with the meaning of acting, the actor’s constant quest which is translated into characters able to entrench themselves in the audience’s minds, the relationship between the evolution of a process and the evolution of an art that seeks to reflect the world. A unique occasion to meet an actress who is one of the most celebrated, but also one of the most aware of her role.
Like a horseback cavalcade, though with a motorbike instead of horses: Tony Gatlif’s rereading of Romeo and Juliet opens with movement. The tragedy’s words are replaced by running, dancing, leaping. The protagonists of Geronimo are acrobats as much as actors, the children of a culture that has grown amidst graffiti and concrete. Gatlif positions his Geronimo, a courageous young women with a vision as clear as the summer sky, between the two factions like an elderly tribal chief.