Virginie Efirastars in the 2019 Cannes Film Festival competition filmSibyl. She also plays a 17th century lesbian nun inPaul Verhoeven’sBenedetta.
Much was made of there only being four women directors in the Cannes competition this year and three of the films were awarded prizes from what might be considered a left-of- field jury.Celine Sciammatook out the screenplay award for her widely appreciatedPortrait of a Lady on Fire(a slow-moving art film literally about art, as well as a lesbian affair),Atlantique, the first competition film by a black woman filmmaker,Mati Diop, won the Grand Prix or second prize (the prize met with resounding boos from the press) whileEmily Beechamwas awarded best actress forJessica Hausner’sLittle Joe.
The fourth film,Justine Triet’sSibyl, starring the hugely popular local starVirginie Efira, and featuring French actressAdele Exarchopoulos(a Cannes winner forBlue is the Warmest Colour) was never going to win a prize from this jury. It is however doing gangbusters at the French box office, and is way ahead of other Cannes releases includingJim Jarmusch’sThe Dead Don’t DieandPedro Almodovar’sPain & Glory.
Sibylis a commercial kind of film that should have screened out of competition. Triet calls it a dramedy in the vein of her previous award-nominated filmIn Bed with Victoriaalso starring Efira. Its (overly) convoluted plot follows Efira’s psychotherapist who wants to return to writing, a career she pursued a decade earlier. Maintaining five of her patients she draws inspiration for her fiction from Margot (Exarchopoulos), an actress seeking advice regarding having an abortion. Margot then tries to commit suicide on the set of her new film, which stars the famous actor (Gaspard Ulliel) with whom she had the affair and the film is being directed by his partner (Sandra Hueller) on the Italian island of Stromboli. Sibyl comes on set to help but she is reminded of her own past—an alcoholic mother, a failed relationship–and spirals out of control.
Still one imagines that Efira’s major international moment is yet to come withBenedetta,which given its Italian Catholic setting and Verhoeven’s controversial candour, would make a huge splash at the Venice Film Festival. Though it’s apparently not ready. Verhoeven clearly came to appreciate Efira’s talents when she played the wife of Isabelle Huppert’s neighbour in his award-winningElle.
I sat down with the down-to earth self-deprecating Belgian actress just before her film’s premiere. Surely though she was horrified by her shoegate moment as her strappy heels kept unravelling as she mounted the famous red steps—a moment that went viral as her castmate and real life boyfriendNiels Schneidercame to her rescue. The actress is deserving of a Hollywood screwball comedy for sure!
What is the most important thing about working with a director?
VIRGINIE EFIRA: The most important thing is to feel confident with the way they work. Sometimes you have a very clear idea about the character, but that wasn’t the case withSibyl. I had to try a lot of things and it was constructed during the editing. We did many takes for every scene, from comical to very dramatic. The main thing was not to be afraid of trying many things and to be able to put yourself in Sibyl’s state of mind, because she doesn’t know what’s going to happen. On Stromboli what I was doing was very bizarre. When she’s drunk it was a more a physical kind of acting.
Are you in any way like Sibyl?
VIRGINIE EFIRA: What I have in common with Sibyl is that I hide my vulnerability and I pretend that I am strong.
You’re having a strong moment in your career, with the French hit,Sink or Swim, and now two prominent leading roles.
VIRGINIE EFIRA:Sink or Swimwas a smaller role as wasElle. The great thing is to have the chance to do a second film with the same director. When I madeSibylI already knew I was to doBenedetta. It took three and a half months to film and it’s a very special character with special energy.
Did you know Verhoeven’s previous films?
VIRGINIE EFIRA: I discovered his work with 1992’sBasic Instinctand I saw all his American films. For meTurkish Delightis a masterpiece. I felt so lucky to get to work with him. With Justine it was great to go back and do a second film as we had become very close friends. For many years I was only offered romcoms with stereotyped characters. Now that I’m older the roles are more complicated so it’s wonderful and I hope it will continue.
You say thatBenedettais very special. It’s an erotic film (based on Judith C. Brown’s book) about a lesbian nun. I interviewed Paul Verhoeven forBasic Instinctand he told me at the time how he cut two seconds out of the film. When I asked what they were he licked with his tongue! He’s an outrageous man. Did you have to do outrageous things in the film?
VIRGINIE EFIRA: Extremely, yes!
Could you say what they are?
VIRGINIE EFIRA: No!
Is there anything you wouldn’t do?
VIRGINIE EFIRA: I would do anything for a director like Paul or Justine, who are intelligent, interesting and passionate about their work. I have my own opinion about the parts and what I’m asked to do and I think as actors we are responsible for what we choose. But I have no consciousness of what my limitations are. If someone asks me to do something and I’m confident and like the proposal then I’m just going to go ahead.
Have you worked with a hysterical director like in the movie? Could you compare Paul Verhoeven and Justine Triet?
VIRGINIE EFIRA: Paul is a very calm person but Justine is a burning fire as I discovered when we filmedIn Bed with Victoria. She’s very demanding but gives you a lot of freedom as she finds her own order in the disorder.
You’re working with your real-life boyfriend, Niels Schneider inSibyland you’ve worked together before. Does it add another layer to the intimacy?
VIRGINIE EFIRA: It’s easier because we’ve discussed it, so you’re not afraid to be too harsh. But when the film premieres tonight in front of my parents I’ll feel like a teenager! When you’re shooting those scenes there aren’t many people on set, so it’s very intimate. Niels said to me, and I agree, that sex scenes tell more about the director’s life and sexuality than that of the actors.
