TIFF 2019 Interview: Ariane Louis-Seize
“When you are in mourning, you’re still in shock. You listen to each little sign, and you interpret them because you need to.”
It’s rare that, from frame one, a film instantly sets a mood. Just a quick shot and you know the tone of the movie. Director Ariane Louis-Seize perfectly captures the feeling of dazed mourning in her latest short film, THE DEPTHS, with camera work alone.
The Depths is breathtaking in its beauty and will haunt you hours after. The tone perfectly mimics the state of mind where nothing feels real when you are in mourning.
After the death of her mother, Justine discovers a life she had no idea existed. As a way to remember her mom, learn more about her, and keep her alive in some way, she embraces the unknown and finds herself lost in it. The Depths is about finding solace, and Ariane Louis-Seize’s choice to explore that peace visually underwater is a beautiful metaphor for how Justine feels emotionally and physically.
Québec filmmaker Ariane Louis-Seize has always been a storyteller. At a young age, she started to write short stories and plays, notably enjoying creating characters. After high school, for CEGEP, Ariane wanted to go into theatre, but there was no theatre option at her school. “So I was like, “Why not cinema?” And I really liked it.” Added Ariane. “I didn’t have much expectation for it — it was just for fun.”
Ariane’s affection for film and filmmaking comes from the ability to create a mood and to express something you’re unable to express with words. She was especially influenced by the work of David Lynch when she was younger.
Ariane’s previous two short films, Wild Skin (2016) and Little Waves (2018), also premiere at TIFF.
The Depths is featured in Short Cuts Programme 2, which is screening on Thursday, September 12th.
TELL US A LITTLE BIT ABOUT THE DEPTHS.
Ariane Louis-Seize: It’s about a girl, Justine (played by Geneviève Boivin-Roussy), who is mourning the recent loss of her mother. While going through her mother’s cabin, she finds scuba diving gear, and starts to go into the lake to find some solace… And she makes a surprising discovery.
I wrote this story while I was at university in France, 10 years ago. My grandmother had just died, and I channelled some of those emotions into the short story. 4 years ago, I started to scuba dive, and the story I had written in university came back to me when I was underwater.
CAN YOU TALK ABOUT THE FILMING PROCESS?
ALS: I like a big challenge, and I thought, “There’s a big challenge; to shoot underwater!”
It was hard in terms of preparation. Geneviève had to learn had to dive, and that took 2 months. There was a submarine — subversive communications crew—with the actors underwater, and on land, we had a monitor and mic to communicate and guide them. Everything takes longer to shoot and it’s harder to coordinate, but it went well.
WHERE DID YOU DRAW THE STORY FROM?
ALS: Everything underwater seems lighter and feels longer. Your mind is at peace. I really like this metaphor to talk about mourning. When I was writing the story 10 years ago, there was a calm to it. I imagined myself underwater, and years later, when I started to scuba dive… It left an impression. It’s a metaphor that came naturally.
HOW DID YOU APPROACH SETTING A TONE FOR THE FILM?
ALS: When you are in mourning, you’re still in shock. You listen to each little sign, and you interpret them because you need to. It’s hard to approach death, especially because you’re in a state where everything doesn’t feel like reality.
I was trying to create this mood, this state of mind. I wanted to be close to Justine, and keep the frame static and let her live in it like she’s in an aquarium.
THERE IS AN ACCENTUATED TENSION AS JUSTINE FINDS OUT MORE AND MORE JUST HOW MUCH SHE DIDN’T KNOW ABOUT HER MOTHER.
ALS: That’s exactly what I wanted to do, but I didn’t want to push this side of the story. There were elements there, of course.
THIS IS NOT THE FIRST TIME YOU’VE BEEN AT TIFF WITH A SHORT FILM. WHAT WAS YOUR REACTION TO THE DEPTHS BEING SELECTED FOR THE TIFF SHORT CUTS PROGRAMME THIS YEAR?
ALS: It’s always amazing to know your premier will be on this big screen. Hahaha. And it’s a wonderful festival to be a part of.
ALL OF THE DIRECTORS FROM YOUR SHORT CUTS PROGRAMME ARE WOMEN. HOW DOES THAT FEEL?
ALS: I’m always happy I’m not the only woman. It’s amazing that more female filmmakers are creating films. As each year goes by there is a change and more range for women in film to work. It’s rare lately that I’m the only woman on stage.
HAS YOUR APPROACH TO FILMMAKING CHANGED SINCE YOUR LAST SHORT FILM, LITTLE WAVES (2018)?
ALS: Yes, in a way. I’m always changing, project after project. But I haven’t changed much when it comes to the lead up to filming — I’m always ready to shoot. For my first two shorts, I was quite destabilized by the lack of time and had difficulties being able to improvise, and I felt more fragile. Now, I’m better with the preparation but also keeping flexible on set. I feel more in control.
With each movie, I let the character and subject guide all the rest. I always try to set some rules and I respect them on set. I think these rules help create the mood that I want to build.
IS THERE A WOMAN-LEAD (BOTH ON- AND OFF-SCREEN) MOVIE YOU FEEL DESERVES MORE ATTENTION THAN IT GETS?
ALS: For the last couple of years, I’ve enjoyed A Girl Walks Home Alone at Night (2014) by Ana Lily Amirpour. It was the first time I saw a vampire movie that was really moody. The main character, she’s cold but strong, and mesmerizing. I was amazed by the actress (Sheila Vand).
I also saw this French movie called Raw (Julia Ducournau, 2016). It’s about a girl who comes to realize that she’s a cannibal and that her whole family are cannibals, and she didn’t know. Her parents raised her with a vegetarian diet really, really young…There’s something about the way she finds her inner self and what she’s really like and starts to embrace it. The film shocked me, but in a good way.
I guess I like horror movies, and when the lead characters have something a little bit off, and something inside them grows…When you let that thing grow and embrace a new identity. I like characters like that because — society put us in a box, and we learn to fit in that box — but they’re different and go for it.
TELL US ABOUT WHY YOU ARE A FEMINIST AND WHY IT’S IMPORTANT TO YOUR FILMMAKING.
ALS: I’m sure it affects my filmmaking in a way because I really want to break the old way we film women and put them in cliche characters. I think it’s important to not do that anymore. To be attentive, to create stronger characters.
WHO ARE YOUR FAVOURITE WOMEN WORKING IN THE FILM INDUSTRY?
ALS: Jane Campion is one of my idols. I like how she represents women. She said once that “the key is to create a trusting relationship with your imagination.” It is my life goal to create this trust with my imagination.
I’m surrounded by inspiring women. I work with a lot of female producers that I like…Yeah, I can’t pick just one around me because I’m always amazed how, in the Québec film industry, there are a lot of women.
IF A MOVIE ABOUT YOUR LIFE WAS CAST/CREATED, WHO WOULD STAR AS YOU AND WHAT GENRE WOULD IT BE?
ALS: Maybe…Geneviève Boivin-Roussy has become a friend of mine since filming The Depths, and a lot of people tell us that we really look alike. Sometimes like sisters. We are really different but in certain pictures…An aunt has commented on pictures of Geneviève thinking it was me. Hahaha. I really like her and she’s so talented.
And yeah, horror movie.
WHAT’S THE BEST ADVICE ABOUT FILMMAKING YOU’VE EVER RECEIVED?
ALS: To not let your ego drive you. It’s never a good thing to let your ego motivate you — you make bad decisions.
PUT TOGETHER YOUR DREAM TEAM (WITH YOU IN ONE OF THE ROLES, OBVS!)
ALS: That’s hard to answer because I always feel like I’m surrounded by good collaborators. With a new project, you may find a new collaborator, and it’s like building a family.
WHAT’S YOUR GO-TO JAM?
ALS: I’m listening to some 70s playlists recently. Loving Lou Reed right now, and Motown. Boney M. The soundtrack to the last Spike Lee movie, BlacKkKlansman.
WHAT ARE YOU CURRENTLY WORKING ON RIGHT NOW?
ALS: It’s an adaptation to a short story I published 3 years ago. It’s more of a family drama. It’s about a 16-year-old girl on vacation — beach weekend — with her mother and mother’s lover during her sexual awakening. Really tense mood. Everything is scripted but I want to do some improv to work on creating tension with the trio. The title is Like A Comet.
DO YOU HAVE A SECRET HOBBY?
ALS: Scuba-diving. When you start to scuba dive…it gets you. It’s an obsession.
RECOMMEND ONE #MUFFAPPROVED FILM FOR OUR BLOG READERS:
ALS: The first movie by Jane Campion, Sweetie (1989). A lot of people haven’t seen it. The characters are so odd and funny. It’s a really weird story, but you get attached to the characters.
And A Girl Walks Home Alone at Night (2014) by Ana Lily Amirpour.
