La plus française des actrices anglaises incarne Suzanne, épouse modèle qui décide un jour de tout quitter pour vivre une histoire d’amour dévorante avec Ivan, ouvrier espagnol et ancien taulard (Sergi Lopez). Après les Ambitieux, Catherine Corsini signe ici une œuvre sensible sur un sujet banal mais sublimé par l’interprétation de deux acteurs au sommet de leur art.

Rencontre avec Kristin Scott Thomas:

What attracted you to the project when Catherine Corsini spoke to you of PARTIR?

KST: Her. I was immediately attracted by Catherine who is a unique person. She’s a little extreme. I like her films very much because there is always something strong and lyrical that takes place. She’s daring and tries many things. She came to see me and talked to me about an idea she had for a film with me in it. The story of a woman about my age who experiences something that many women experience today. I was interested, so she started to write it. What’s more, the entire undertaking with the crew appealed to me. Not only was there Catherine, but Fabienne Vonier, the producer, as well. I appreciate her very much. She has produced some lovely things. And then there was Agnès Godard who was the chief lighting technician. I wanted to work with these women, to recount a story with them about this woman who had been suffocated for such a long time, and who believes she can reinvent the second half of her life.

How would you define Suzanne’s character?

KST: She is a woman who takes stock of her life and doesn’t like what she sees. Suzanne is unable to work because she was busy raising children for a long time. She loves her husband. He takes care of all her needs. She is well-dressed, has a lovely house, a nice car and goes on vacation… But her husband is constantly putting her down. This woman is HIS wife. She belongs to him and she is part of his social status. When she becomes aware of all this, she suddenly meets this man who is completely opposite from her husband. He is kind, attentive and simple. He is a Spanish builder, and just a bit of a crook. The meeting is a revelation for her. It is linked to her desire and a sexual pleasure she hasn’t experienced in a long time.

What touched you the most in her character?

KST: Her hope and her naiveté. She thinks she can change the world, find love again and start from scratch. She’s even ready to work at a checkout counter register. Her pride weighs less heavily than her desire and her love. The moment she decides to leave, nothing can stop her. Not even her children. She feels a bit guilty and then after, she doesn’t look back. She takes her path. I like that freedom…

Suzanne and Sergi Lopez’s character are both foreigners in France. Do you think that has an impact on the story?

KST: Yes, of course. Both of them feel displaced. In fact, when you live in a foreign country for a long time, there comes a point when you feel like escaping, to either go home, or leave for another destination. In this situation, going elsewhere is symbolic.

Were some scenes particularly frightening for you?

KST: Naturally, like with all the physical scenes. Whether they are violent scenes or love scenes, it is always complicated. I don’t like doing them or watching them after the film is completed, but I really like what they show here. It’s a typical story, but not the way Catherine films it. Every time Suzanne sees her lover, after they’ve become physically intimate, the only thing we see are crossed arms that grab at each other. I found that very beautiful… It’s a very sensual film. Just take a the look at the way she captures nature, the countryside, the seaside…

How would you describe Catherine as a director?

KST: She is very instinctive and directive all at once. And also… rather harsh! Frontal, direct, passionate. But I would work with her again in a heartbeat! She isn’t afraid. She is demanding and rigorous. If she doesn’t get what she wants, she describes it with total precision and… one must deliver! Actually, that worked out perfectly for me because I liked to be pushed into a corner. I look to be provoked… rather than having someone who’s happy with the first take!

After acting in Philippe Claudel’s film I’VE LOVED YOU SO LONG, here you are once again in a role of a woman looking to reinvent her life. Do you think French cinema sees you in this light?

KST: No, I think these women are characters that illustrate issues regarding women in my age group! Each one demonstrates it in their particular manner. And that infamous mid-life crisis is different for each person.

Leaving
Un film de Catherine Corsini avec Kristin Scott Thomas, Sergi Lopez, Yvan Attal
Sortie Uk: le 9 juillet
www.metrodomegroup.com

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