Romane Gueret studied Cinema at the Sorbonne. She began her journey towards directing as an assistant director and casting assistant. An actress who has been trained. Lise Akoka discovered a way to bring together her interests through the coaching and casting of children for the cinema. They met during the casting process for a feature movie in 2014. They auditioned for over 4,000 non-professional actors for several weeks.
Gueret and Akoka helmed the short film “Chasse Royale” in 2015, which won the Illy prize at the Quinzaine des Réalisateurs and was nominated for a César. In 2018 they co-directed the documentary “Allez garçon!” for the Hobbies Collection, which was broadcast on Canal+. Their web series “Tu préfères” was released on Arte Créative and selected for Sundance 2021. “The Worst Ones” (“Les Pires”) is their first feature.
“The Worst Ones” (“Les Pires”) is screening at the 2022 Cannes Film Festival, which is taking place May 17-28.
W&H: Describe the film for us in your own words.
RG&LA : “The Worst Ones” is the story of an encounter. This is the story of two worlds that seem almost to be opposite. The world of cinema, as represented by a Parisian film crew, and the worlds that are inhabited by children from a disadvantaged neighborhood in Boulogne-sur-Mer. A very elitist, idealistic world of creation is faced with a less polished and authentically authentic popular universe. Their meeting takes place during the making of a film, “To Piss Against the Northwind.”
“The Worst Ones” is the story of the shoot of that film.
W&H: What drew you to this story?
RG&LA: “The Worst Ones” is somehow a sequel to “Chasse Royale,” our first short film, with the difference that our short film focuses on the moment of the casting, while our feature recounts the ensuing shoot. We both entered the film industry through wild casting, working on films as casting directors and child coaches, before making “Chasse Royale,” which is inspired by our experiences. To prepare for “The Worst Ones,” we returned to this area of the city of Valenciennes — of which the short film bears the name — which had inspired us so much, with the desire to continue to create a dialogue between two worlds that seemingly oppose one another a priori: that of a popular area and that of the cinema. The base of these films is our shared passion for the worlds of damaged childhood, which echos our intimate concerns.
W&H: What do you want people to think about after they watch the film?
RG&LA: We hope that “The Worst Ones” can become the chosen ones, the heroes, and we understand it as a beautiful tribute to all these children damaged by life. Their inherent gift transcends all class logic, no matter what their background or education. Some kids Artists who don’t care about themselves even though they have fewer opportunities to express themselves in certain circles. “The Worst Ones” carries the hope for a possible meeting at this place in the cinema between worlds that nothing predestines to meet.
W&H: What was the biggest challenge in making the film?
RG&LA: The biggest challenge is at the heart of what the film discusses but also of its production: the wild casting — i.e. Casting non-professional actors is the biggest challenge. It is a choral film that is performed by young non-professional actors. They need to be supported, framed and coached at all costs.
But beauty and grace are born out of this difficulty.
W&H: How did you get your film funded? Let us know how you got the film produced.
RG&LA: It’s an in-between one. Indeed, we have benefited from the support of French television channels (France 3, Canal+, Ciné +), the CNC, the region in which we shot, as well as our distributor Pyramide, which also handles international sales.
W&H: What inspired you to become a filmmaker?
LA: I was fascinated by films that featured children when I was younger. I was a child and only saw that. I wanted to be there at that time. Later, I attended theater school. I also studied psychology with a desire to work closely with young children. My vocation as director lies at the intersection of these centers of interests. Making films about childhood is my first passion, especially when it is painful.
RG: I had a hard time at school. I felt the pain of the school’s gaze. I think I was trying to prove to myself that my abilities could be used. I began writing, photographing and making small clips. The cinema was a way for me to express myself freely without having to fit into predetermined boxes. Six years ago, after many experiences in directing, i found myself casting a feature movie, where I met Lise. Our first short film was the result, which confirmed my passion for making films.
W&H: What’s the best and worst advice you’ve received?
LA: Best advice: Never lose sight of what you want to say, that’s all that matters, what the film says; the rest, the surroundings, does not matter.
Worst advice: Often ready-made formulas that convey questionable values such as “you can only rely on yourself.”
RG: My best advice: Michel Pettrucciani, the pianist, said that he learned how to play by mimicking the people he loved. We develop our personality by mimicking those who inspire us. That seemed very fair to me.
The worst: My six-year-old sister, who told me, “You’re not patient enough, you’ll never be a Jedi.” In the end, maybe it was good advice!
W&H: What advice do you have for other women directors?
RG&LA: Follow your instincts, surround yourself professionally with people you admire, and don’t give up when you’re told it’s not possible. Half the time it’s wrong.
W&H: Name your favorite woman-directed film and why.
RG&LA: We both really like the work of Andrea Arnold. Her social cinematography, which travels between dreams and disillusionments of young, rebellious and flamboyant women characters, is real and realistic.
W&H: How are you adjusting to life during the COVID-19 pandemic? Are you creative? If so, how?
RG&LA: In this difficult period we were very lucky, nothing was put on hold for us. We had just finished our “Would You Rather” series and were starting to look for funding for the feature film. It was almost like a moment before the storm when it was possible to dream about the movie and prepare oral presentations to defend it against different interlocutors. We were able to avoid all the obstacles and felt very fortunate.
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?
RG&LA: From this lack of representation arises a discrepancy with the public and its expectations. We are making films about young people in neighborhoods that often suffer from underrepresentation on a small scale. This will help us to free this audience from the chains it is trapped in. Create stories that are true to your characters.
Dealing with this youth is not simply observing them “through a window.”
What matters to us when we make a film is that the young people on whom we shed light are not reduced to their status of “young people from difficult neighborhoods.” They are above all contemporary teenage characters — funny, chatty, and sensitive.
Source: Women And Hollywood