Charlotte Vandermeersch is a highly regarded Belgian screen and stage actor. She sings, writes, and acts in theater and film. In 2011 she wrote a version of the screenplay of “The Broken Circle Breakdown” with her partner Felix van Groeningen. “The Eight Mountains” is her first film as co-director.
“The Eight Mountains” is screening at the 2022 Cannes Film Festival, which is taking place May 17-28. It is co-directed and produced by van Groeningen.
W&H: Describe the film for us in your own words.
CV: This is a story about two boys who are 11 years old and become great friends. They spend their summers together in a forgotten corner of the Italian alps, where Bruno was born and raised, while Pietro’s visiting from the city. Their journey begins here, and it’s as simple or complex as life itself. We follow them from adolescence to adulthood. They lose track of one another, but then they find each other as grown men. It is a way that impacts both of them every time they meet.
We all make different choices in life, and try to respect those of our friends — however difficult at times. This is a small story that tells an epic story in small gestures. It is both strong and fragile at once.
W&H: What drew you to this story?
CV: When Felix (van Groeningen, my partner and co-director) was offered this project, I also read the book and immediately felt drawn to this mix of “old” and “new” world that I know from my past, growing up in the countryside. I told him I felt very inspired to write a draft of the script with him — something we had long wanted to do again after having written a version of “The Broken Circle Breakdown” together.
The idea of co-directing came later, after it seemed right to join forces on this film.
W&H: What do you want people to think about after they watch the film?
CV: I hope they will take a moment and be still, to think about their lives, appreciate their friends and family, and realize that beauty, love and hardship all go hand in hand.
W&H: What was the biggest challenge in making the film?
CV: We had sets in Italy, Nepal, ranging from 200m to 4,000m. We wanted all four seasons to be included in the movie at different times. We were highly dependent on the weather and directed in an Italian language we had specifically learned for this movie: Italian. (We are Dutch-speaking ourselves.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
CV: The film is based on a book that won Italy’s biggest literary award. However, one of the producers studied with the author and was able to get the rights before the book became famous. Wildside, part Fremantle was eager for something special with it. They offered it to Felix — whose work they loved — and really respected his view on things. They were very supportive of the whole process and welcomed me into the team. We are grateful for their support and confidence. It was a Belgian (our own Rufus Films & Menuet), French, and Italian co-production. But the Italians really helped us.
W&H: What inspired you to become a filmmaker?
CV: My story, my past and my creative connection with Felix. I never imagined I would become a director. I am an actress, I sing, I write, I make theater, and I’m always curious. It felt like the right creative endeavor at the right moment.
W&H: What’s the best and worst advice you’ve received?
CV: Best advice: “Own it. You are here, this didn’t come out of nowhere. Own it.”
Worst advice: “If you don’t know, move over.” Not knowing what to say or do is as much part of any process as knowing what to do; people bluff all the time.
W&H: What advice do you have for other women directors?
CV: My experience is that women should surround themselves with people they don’t need to explain things to in a literal way, but with people who feel them. Fewer words, greater understanding.
W&H: Name your favorite woman-directed film and why.
CV: I love Jane Campion’s “The Piano,” which won the Palme d’Or in 1993. I was a young teenager. In a time when this was not evident at all, the beginning of the ’90s, she opened up a world unknown to me. My mother jumped on top and we watched the film together. [certain]There were times when things got too intimate. I can recall us both being captivated by the film’s sensuality. We had never seen this kind of earthy, feminine strength and tenderness portrayed before — I believe my mother had almost forgotten she had this inside of her, and I was about to discover it. For years after that, I played Michael Nyman’s melodies on the piano. They are still etched in my mind.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you creative? If so, how?
CV: This film really saved me during the pandemic, as it covered the whole period — from the start until now. I had to quit some jobs in order to work full-time on this film. But, those jobs were often affected by the effects of the pandemic.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making it more inclusive?
CV: Supporting people to grow creatively, to write, and to take the lead in projects is a great way to help them tell their stories in a personal and universal way. Let’s give filmmakers and crew members of color abundant opportunities to work, and their talent will do the rest.
Source: Women And Hollywood
