Louis Garrel in “La jalousie”

Louis Garrel on L’Uomo Vogue September 2013 by Pierpaolo Ferrari 



Louis Garrel on the cover of the Semptember issue of L’Uomo

Vogue, is the star of ‘La jalousie’, the movie presented at the

 Venice Film Festival, in which he is directed by his father Philippe.


Philippe Garrel directed his son also in Les baisers de secours,

the film that marked Louis’ film debut at age 6, in Les amants

reguliers in 2005, La frontière de l’aube in 2008 and 

Un été brulant in 2011. “I was my father’s alter ego in the

first two. In the third he told the story of his artist friend. La

jalousie is a film about my grandfather Maurice, who passed

away two years ago. I think it’s the film that I love the most,

even though from a cinematographic perspective ‘Les

amants reguliers’ is the most important”, Louis Garrel said

in the interwiew on L’Uomo Vogue. Protagonists also in the

movie are  Anna Mouglalis and Esther Garrel, Louis’ sister.


Here the full interwiew on L’Uomo Vogue and vogue.it:


La jalousie is about a separation that is complicated by the presence of a five-year-old girl,” he explains. “The separation of a childless couple is dramatic, but the separation of a couple with children is always tragic. This film reminded me of Medea.” I ask him if he ever saw Pasolini’s Medea (“No”) and, since he has acted with his entire family (his mother Brigitte Sy played his mother in Les amants reguliers and his sister Esther appears in one of his short films), if he has ever thought of having his own daughter (adopted with his former partner Valeria Bruni-Tedeschi) audition for the part of the daughter. “I’d never ask my daughter to act: you know Nanni Moretti?‘Our son will do exactly what he wants… We hope he won’t become an actor… We’ll forbid him from becoming one.’ Well, I’m that kind of father. My daughter is extremely talented: she was in Philippe’s film. She also appeared in a film by Jacques Doillon who’s a genius at casting children.”


He is completely involved in his father’s films (since 2005, Louis has been the only star of his father’s films), starting from the initial phase of the project. That involvement continues with punctual weekly checks “where we see the edited parts and decide what to do. Philippe is an incredible technical expert. He has shot entire films himself with the camera. His films are artistic: the work of a painter. This time I suggested that he give the film the lightness of a watercolor instead of an oil painting, as he always does. How do I rank myself as a director compared to my father? I can barely draw pencil sketches. At any rate, after two short films and a medium-length film, I wrote the screenplay for a feature-length film and I’m looking for financial backing, which isn’t easy to find. Art films have always been difficult to produce, but now it’s a disaster. Then again, as Truffaut used to say, you can only have a prestigious career in France.”


Christophe Honoré – the director of six of his films starting with the controversial Ma mère with Isabelle Huppert, based on Bataille’s novel, in which Garrel was even more exposed (also physically) than in The Dreamers – helped him revise the screenplay. “I adore Christophe’s subtle spirit and his ability to transform any dialogue into something poetic, almost like a novel. I’m definitely more basic.” Louis is also working on a theater piece about avant-garde artistic movements. Having just finished a particularly challenging tour (97 evenings co-starring with Bruno Ganz and Emmanuelle Seigner in Harold Pinter’s Le retour [The Homecoming], which also appeared at the Strehler Theater in Milan), he says he loves the pace of the theater and the speed and depth with which one gets to know the other members of the cast, but he hates small hotels in the province and the people who stop him on the street to tell him that he’s better in films.


Garrel will play Jacques de Bascher in Bertrand Bonello’s film onYves Saint Laurent starring Gaspard Ulliel. “De Bascher is the person who introduced YSL to drugs and perverse sex,” says the actor. “He was also the lover of Karl Lagerfeld, who isn’t mentioned in this film.” A type of Dorian Gray born in Saigon, De Bascher became the constant companion of Lagerfeld in 1973 but he was also Saint Laurent’s lover for a period. He was despised by Pierre Bergé, who called him a gigolo. De Bascher was a decadent protagonist of Parisian night life who organized memorable parties at the Palace. It took him hours to dress, and he owned the same coat in 12 different colors. He was painted by David Hockney and photographed by L’Uomo Vogue. De Bascher would sniff cocaine from a gold Cartier box that once belonged to Santos-Dumond the aviator. He kept a gynecological examination table in the living room of the apartment that Lagerfeld left him in Saint Sulpice. De Bascher had a lily tattooed on his derriere in homage to the realists of Vandea and he died of AIDS at age 38.


This is a perfect role for Garrel, whose extremely elegant gestures, so evident in film, are just as powerful in person. Maria Grazia Chiuri and Pier Paolo Piccioli also appreciated that elegance and chose him as the celebrity face for the new Valentino men’s fragrance. Garrel loves the brand “because it makes my girlfriend and all her friends happy.” With a cigarette eternally dangling from his lips, a constantly moving leg, and a very expressive face, Garrel talks about existential unease, yet few people seem as “bien dans sa peau” [at ease] as him. “To escape from the distress of civilization, some people turn to yoga, drugs, or move to remote countries. I escape by watching films like Claude Sautet’s The Things of Life, which I recently saw. I found there were many similarities with my life: in the end, one just has to find some light in all this darkness. I’m interested in existential films: I love movies that console you in the same way that a person consoles a weeping child.”


He still loves Bertolucci (“Io e te was absolutely beautiful”) and he’d like to work again with Xavier Dolan for whom he played a small part in Les amours imaginaires [Heartbeats]. When I ask him if he has ever received offers from American directors, he tells me that he was stopped by Wes Anderson during an evening at a club. The director ofThe Darjeeling Limited told him that he used a song in his film that he took from Les amants reguliers. “I was surprised that this top director of sophisticated American cinema had seen it. I’d like to work with him. And I’d also like to work with the director of The Positive Side.” Asked the question “do you think you’re a good actor?” he answers that he has “failure neurosis”. “My grandfather criticized me thousands of times and he gave me a compliment once.”


Garrel lives near the Sorbonne. “I like being surrounded by students and intellectuals. I didn’t go to college because I lack training and I’m a dope. When I was 10, when my parents’ friends would ask me what I wanted to be when I grew up, I’d say a veterinarian. Honestly, I don’t remember why. I like watching people work with passion. Last year I was vacationing in Goa. The people there were happy to live simply yet they were full of energy because they knew their country was experiencing rapid development. Here in France, however, the moment is very confused. I’ve reached a point that I don’t care about politics anymore, even though I’m a leftist due to logic and pragmatism.”


We talk about the women in his life: his mother (“She was a Pasionaria and a very courageous woman: she did theater in prisons for ten years. When I was young, there were men who were released from jail and came directly to live at my house.”), his sisters (“Two, both younger than me and both very smart. Esther is an actress but she never asks me anything about work.”), his companion, Iranian actress Golshifteh Farahani (the star of his medium-length film La règle de trois, but more famous here for Body of Lies with Leonardo DiCaprio, Satrapi’s Chicken with Prunes, and The Patience Stone by Atiq Rahimi), and his daughter. “Since she came into my life – the child I wanted with all my heart whom I feel is mine 100% even though I’m not her biological father – the idea of physically having a child of my own is something that I find even a bit unpleasant.”




La Jalousie trailer:



YouTube Preview Image





Anna Mouglais and Louis Garrel in ‘La jalousie’



Anna Mouglais and Louis Garrel in ‘La jalousie’



Anna Mouglais, Louis Garrel and Esther Garrel in ‘La jalousie’



Louis Garrel on L’Uomo Vogue September 2013 by Pierpaolo Ferrari



Louis Garrel on L’Uomo Vogue September 2013 by Pierpaolo Ferrari 



Louis Garrel on L’Uomo Vogue September 2013 by Pierpaolo Ferrari 







source: vogue.it