This will be Canadian-French, not European French, because my family is from Nova Scotia and Canada is the motherland.
Still, it will “feel” French, the way New Orleans does, the way Montreal does.
Black and white only of course, except, because we can do this now, an occasional part of the set in color--the door to the kitchen, the baguette she buys in her grief, the left shoe, but not the right one. This will create a symbol or even better a question for the audience. When, during the previews, they ask me what the door means, why the left shoe, I will study hard the face of the person asking the question and then say, “Next question.”
All the main characters are women or girls and there is no explanation for this. It is not set in a convent or an all-girls boarding school. It’s not overtly a lesbian love story. It’s people going about their lives: running businesses, taking vacations, building complicated relationships in minutes. No one in the movie acknowledges the lack of men.
It will be filmed with no fewer than 7 cameras from at least as many perspectives. Only two professionals will be hired, the rest will be called in from the street and told to point the camera at whatever is most interesting to them at the moment. I call it “behind-the-camera” reality film. I intend to take it to the small screen.
No dogs.
Elephants.
No cigarettes.
You may say without dogs and cigarettes, the film cannot really be French. However, all of the butter in the film will be real and the women will really eat it.
Though the plot is narrow, it’s deep. It’s filled with character misgivings and then their bold imaginations. No one can decide who the lead is, which will make it difficult for the Academy. I refuse to attend the awards shows. But I appreciate the nomination.
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