Mon. Sep 26th, 2022

Hello Fiévet Mireille, it’s a pleasure to have you with us for this interview. Congratulations on your award at last season of the “Indie World Film Festival”.

Q: Your new movie is “Under Tension”; in a few words, what is it about?

A: My film talks about mistreatment, domestic and family violence

Q: When did you plan to do this film?

A: I shot it in August 2021, and I edited it definitively in March 2022

Q: What got you into filmmaking in the first place, and did you receive any formal training on the subject?

A: I have not received any training, I am self-taught. I was spotted when I was young as a model and then while I was studying psychology at Descartes University, I joined a theater company and I discovered I had the gift of writing. , acting, directing, and I decided to set up my own company to train young actors and actresses from an early age. and from there I started to write my plays, edit them and produce them. And since 2016, I started writing screenplays, including my first short film which was selected for the Short Corner of the Festival of Cannes in 2017, since I am in my 3rd year, preparing a next short called Fausse Rumeur, and I started writing my first feature film.

Q: What can you tell us about your film work prior to this film?

A: As I explained just before, I work in parallel to train young actors from 4 to 77 years old within my Company, I hire artists who give artistic workshops in the schools of my city, and I direct everything that in parallel with my films.

Q: Can you explain or tell us some of the important elements of this film that makes it interesting?

A: The story of “Sous Tension” appealed to me in several ways: First of all for its theme, family relationships. A theme that I like to explore over the course of my projects to show the difficulties that we can have in living together. Then for its atmosphere, oppressive, paranoid, which as its title says is constantly under tension by the presence of the father who constantly weighs above each character, even when he is not in the room. Finally for his characters, with this omnipresent father with unstable and violent looks, with this protective mother but physically mistreated and by her husband, and these three children who are impacted at different levels by this violence. I intend to marry these three points by a subtle staging close to the feelings of each character to show in detail the tension that there is within this family and their social relations. The character of the father is the one who sets the tone and the tempo of the life of each member of the family. When he is not physically present in the same room as the other characters, the tension does not go down but the atmosphere is a little less heavy and rigid. The father will thus be filmed on a tripod, still, and at the start of the shots of the other characters when they are in the same room. This will support the authoritarianism and the pressure he exerts on those around him, while showing that he controls every move of his loved ones. The few tilts, pans and tracking shots there will be to marry this vicious control over his entire environment and bring attention back to his person. The other members of the family will be filmed with a shoulder camera with much more freedom in their movements when they are in a room without the physical presence of the father. This will mark a subtle but significant difference in understanding the feelings of each of the characters when the father is not around. This will also be felt in the sets and accessories. The rooms most frequented by the father will be those with a cold, dark, refined atmosphere and without visual attachment, such as the living room and the bedroom. On the contrary, the kitchen, the mother’s universe, will be bright and warm with drawings and photos of the children adorned everywhere. Over the course of the story, relationships evolve and become tense within the home, a distance is created and the focus lengthens. Isolating the characters a little more from each other and letting the father manipulate them a little more. These relations will have a climax which will chain on a balance in the frame at the end of the film where the father will lose control and will be filmed in a brutal and moving shoulder camera, and the relieved family in a fixed shot.

Q: How big was your team and what were the cameras that you used?

A: We were 23-24 and the camera was a “Mavo S35 6K” and the lenses were “LeicaR”

Q: Directors (and indeed actors) who inspire you and what are your favourite movies?

A: I really like Xavier Dolan’s films including “Mommy”, I like Scorcese, Ken loach and Cassavets “opening Night”, “A woman under the influence” I love Geena Rowlands as an actress, Meryl Streep, I wouldn’t be able to answer you which film I like the most because there are many, it can also go “Singing in the rain” to the thriller “The silence of the Lambs” I also like Spanish cinema a lot, I find them very strong.

Q: Where can people see your work?

A: I am currently working so that it can be seen on French television, but only after it has toured various Festivals around the world. I’m up to 61 selections and 31 prizes in two months and the film is still registered in many Festivals…

Q: What are your future projects?

A: I will a short in October 2022 with the backdrop of problems related to cyber-bullying among adolescents, a very fragile audience, in full puberty. 

Q: Thank you for this very inspiring interview, Fiévet Mireille. Here at the “Indie World Film Festival” we look forward to seeing and appreciating your new film productions!

A: The project that is close to my heart is the feature film that I am writing called Mouche or L’Ombre du Passé The shadow of the past

Fiévet Mireille:

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