{"id":492397,"date":"2026-05-26T12:14:32","date_gmt":"2026-05-26T10:14:32","guid":{"rendered":"https:\/\/numero.com\/art\/numero-art\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/"},"modified":"2026-05-26T12:14:47","modified_gmt":"2026-05-26T10:14:47","slug":"interview-with-isabelle-huppert-at-the-louvre-for-numero-art","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/","title":{"rendered":"Interview with Isabelle Huppert at the Louvre for Num\u00e9ro art"},"content":{"rendered":"\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Isabelle Huppert wearing a Balenciaga dress in front of the Mona Lisa at the Louvre for
Num\u00e9ro art<\/em>.<\/figcaption><\/figure>\n\n\n\n

The iconic French actress agreed to walk around with us at the Louvre Museum and revisit some of its greatest masterpieces. In dialogue with the Mona Lisa, the Winged Victory of Samothrace and the Venus de Milo, Isabelle Huppert<\/a><\/strong> transforms herself and embodies, throughout this exclusive series for Num\u00e9ro art 14<\/strong><\/em>, a gallery of striking and charismatic characters. Currently starring in \u00c9lise Girard\u2019s Sidonie in Japan<\/em> (2023) and recently seen on stage in Romeo Castellucci\u2019s B\u00e9r\u00e9nice<\/em>, the French actress more than ever embodies the ultimate performer \u2014 capable of playing anything, at once glamorous and enigmatic, free-spirited and daring.<\/p>\n\n\n\n

Interview with Isabelle Huppert at the Louvre<\/h2>\n\n\n\n

Num\u00e9ro art<\/em>: Thinking about your relationship to art, one of your first major roles comes to mind, in the 1975 film <\/strong>Alo\u00efse<\/strong><\/em>, where you played a schizophrenic painter living in a mental institution. What do you remember about that?<\/strong><\/p>\n\n\n\n

Isabelle Huppert<\/strong>: I cherish this film because it was indeed one of my first good roles. And it\u2019s also special to me because it was directed by Liliane de Kermadec, who is no longer with us and who I loved very dearly. Liliane was one of the first to cast me. And the movie featured Delphine Seyrig too, though I didn\u2019t really meet her when I was making the film \u2013 I just ran into her in the lobby of a hotel. She was going out as I was coming in, since I was playing the young Alo\u00efse and she is the adult Alo\u00efse. The film also introduced me to Outsider Art <\/em>and to Dubuffet, who started the movement. I remember that, at the time, I got to see the big Outsider Art <\/em>collection in a place in the rue de S\u00e8vres that wasn\u2019t open to the public. I have very specific memories of those artists who weren\u2019t socially defined as such. One of them had dug holes into the walls of his cell using a teaspoon \u2013 wooden panels carved with a spoon. <\/p>\n\n\n\n

Every time I go to Lausanne, where the collection is now shown, I\u2019m very moved. These artists shattered the narrative and challenged the norms \u2013 they were artists who didn\u2019t know they were artists. Alo\u00efse was schizophrenic. She spent 30 years in a psychiatric hospital. She painted using whatever she could get her hands on \u2014 huge pieces of craft paper that she fixed together with twine. Her dream was to become an actress and take drama lessons. In the film, she walks onto a stage and the director asks her a question. I don\u2019t remember what the question was, but her answer went: \u201cI\u2019m not scared of a big empty stage. That\u2019s not what scares me<\/em>.\u201d I\u2019ve never forgotten that line.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Isabelle Huppert wearing Maison Margiela at the Louvre Museum.<\/figcaption><\/figure>\n\n\n\n

You\u2019ve worked with a lot with directors who are also considered major artists, such as Bob Wilson, for whom you\u2019ll be performing in May in <\/strong>Mary Said What She Said <\/strong><\/em>in London, and also Romeo Castelucci, with whom you recently did Racine\u2019s <\/strong>B\u00e9r\u00e9nice<\/strong><\/em>.<\/strong><\/p>\n\n\n\n

Their ideas are sometimes misunderstood, like languages that simply aren\u2019t comprehended. For me, they are languages to which I oppose no resistance, a form of playground, a space of freedom. It may seem constraining, because it\u2019s true that I have to fit into a given form, but I don\u2019t feel like I\u2019m forsaking what constitutes the essence of my enjoyment and my nature as an actress. Not for a minute! Quite the contrary, I\u2019d say. From constraint comes freedom. Well, not always…<\/p>\n\n\n\n

Are you particularly attracted by directors with a strong artistic vision?<\/strong><\/p>\n\n\n\n

I\u2019m not only attracted by that. Theatre is such a broad field. I\u2019m attracted by experiments. I can also do more classical theater \u2013 I just as greatly enjoy playing Florian Zeller\u2019s The Mother <\/em>in a form of theatre that is obviously completely unrelated.<\/p>\n\n\n\n

With respect to <\/strong>B\u00e9r\u00e9nice<\/strong><\/em>, Castellucci explained that he was trying to push a hardcore version of theatre. Do you share this ambition?<\/strong><\/p>\n\n\n\n

We all know that, most of the time, Romeo Castellucci likes to bring out all the most hardcore possibilities that theatre allows. It\u2019s difficult to imagine him directing a bourgeois farce. We\u2019re very lucky that France welcomes productions like his. It\u2019s easier to get this kind of work off the ground here. You certainly wouldn\u2019t see it in the United States, even though, historically speaking, there have been some very particular projects over there, such as with the Living Theatre [the experimental company founded in New York in 1947<\/em>].<\/p>\n\n\n\n

What have you taken away from your experiences with Wilson, who you\u2019ll be working with again at London\u2019s Barbican this May?<\/strong><\/p>\n\n\n\n

The first time I worked with him was in 1993 in Orlando<\/em>. Then we did Heiner M\u00fcller\u2019s Quartett<\/em>, and finally Mary Said What She Said<\/em>. Bob Wilson fundamentally changed the perception of time and space in theatre, as well as the relationship to the body. There was a before Bob Wilson and an after. And then there\u2019s the light.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Isabelle Huppert wearing a Vaquera dress with Lorette Col\u00e9 Duprat jewels at the Louvre Museum.<\/figcaption><\/figure>\n\n\n\n

“As an actress, I must say I have a good imagination. Any situation can inspire me.<\/em>” Isabelle Huppert<\/h2>\n\n\n\n

When doing movies, do you ask yourself a lot of questions about your character?<\/strong><\/p>\n\n\n\n

I\u2019m embarrassed to say it… But actually, why should I be embarrassed? No, I never ask myself any questions. Neither before, during, nor after. I don\u2019t ask myself any because I already know all the answers. The answers are brought to you over the course of making the movie. I think they already start to come the instant you decide to do the film. That\u2019s the decisive moment! And from that point on, it\u2019s like a very fine long thread that unwinds. Your thoughts begin to flow. In fact, cinema and theatre are just thoughts. They\u2019re not really anything else. After that, there\u2019s all the rest, of course, but first and foremost it\u2019s thought, including unconscious thought.<\/p>\n\n\n\n

In <\/strong>Sidonie in Japan<\/strong><\/em>, which had its theatrical release in early April, you play a writer grappling with the ghost of her husband during a trip to Japan. How did the director, \u00c9lise Girard, pitch the script to you? Is it the story of a love triangle with your husband\u2019s ghost and your editor, with whom a relationship develops? Or is it a story about travel and the experience of an unknown elsewhere?<\/strong><\/p>\n\n\n\n

I\u2019d say more the latter. It\u2019s a film about sensations. I met \u00c9lise when she was shooting a movie with my daughter, Lolita Chammah. The film, Dr\u00f4les d\u2019oiseaux<\/em>, was wonderful, and Lolita too. I don\u2019t remember how \u00c9lise talked about our project, but I think she told me it would be shot in Japan. That conjured up a number of images, of course. It was only later that I learned about the story of the ghost and this writer, a woman who has to overcome a tragic event in her life.<\/p>\n\n\n\n

The film sidesteps the usual clich\u00e9s of bustling Japanese urbanity and instead takes us into astonishingly quiet, serene environments. That feeling is further enhanced by the major role that silence plays in the movie.<\/strong><\/p>\n\n\n\n

Yes, the cars are quiet, the crowds are quiet. During the day, that\u2019s how people move around, very softly, even if a very lively nightlife is also shown in the film. \u00c9lise has a real talent for infusing all the poetry of the country. And also for filming silence, like the scenes in the car. All those very peaceful scenes, like in the cab, and the very eloquent silence between my character and her editor [played by the Japanese actor Tsuyoshi Ihara] are extremely moving. No sound disturbs their intimate inner journey, which mirrors the car\u2019s journey. <\/p>\n\n\n\n

\u00c9lise Girard plays with genres, blending fantasy with moments that touch on the burlesque. Your character often seems to be wandering around in a state of bewilderment, like something out of a Jacques Tati movie.<\/strong><\/p>\n\n\n\n

The film plays on contrasts. When I arrive at the airport in Tokyo, I\u2019m met by the Japanese editor, and right away our difference in height is blindingly obvious. So the contrasts are ideal for burlesque. He walks very fast, and I have to run after him… It\u2019s very funny. All that happened very naturally because it was induced by the situation. As an actress, I must say I have a good imagination. Any situation can inspire me.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Isabelle Huppert wearing Y\/Project at the Louvre Museum.<\/figcaption><\/figure>\n\n\n\n

Sidonie in Japan<\/em>, a narrative about traveling and experiencing the unknown<\/h2>\n\n\n\n

Your husband\u2019s ghost appears and disappears very simply, without fancy visual effects. It all seems rather ordinary, as though he were coming back to life and then leaving the room.<\/strong><\/p>\n\n\n\n

Curiously, the more alive and visible he is, the more unremitting he becomes, like a rather evil invasive plant. He makes life, but it\u2019s a rather lethal life, one that prevents Sidonie from living. And then, of course, the more he disappears, the more she feels grief. The great idea in the writing was not having a morbid ghost but rather a living ghost who is all the more destructive because he\u2019s alive. In the end he disappears, and we understand that he\u2019s freed up some space. Of course there are emotions and nostalgia, but the mourning is over. Sidonie can finally let someone else into her life. It\u2019s the story of a rebirth.<\/p>\n\n\n\n

Part of the film takes place on the island of Naoshima, which is home to some of the most beautiful museums in the world. Indeed we see you from the rear, looking at pictures by the Japanese photographer Hiroshi Sugimoto, which is an amusing nod to reality given that we know he took your portrait.<\/strong><\/p>\n\n\n\n

We would have liked to stay longer in Naoshima. That\u2019s the disadvantage when you\u2019re shooting \u2013 you\u2019re not necessarily free to enjoy the places you visit. I wasn\u2019t there as a tourist, I was there as an actress, meaning in a world of my own. You forget what\u2019s around you \u2013 it\u2019s kind of weird. But in Naoshima, the connection is so unique that it\u2019s hard not to notice.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Isabelle Huppert wearing an All-In dress at the Louvre Museum.<\/figcaption><\/figure>\n\n\n\n

“I guess we\u2019re fascinated by the fascination she inspires. We no longer know if it\u2019s hers or the entire world\u2019s. You can look at her forever<\/em>.” \u2014 Isabelle Huppert<\/h2>\n\n\n\n

We\u2019ve just spent the day in another museum, the Louvre. Do you like to spend time in art galleries?<\/strong><\/p>\n\n\n\n

They\u2019re my first destinations when I arrive in a new city. I\u2019ve had the opportunity to travel to a lot of places around the world and often, when I get there, I don\u2019t know anyone or anything about where I am. I love shooting in those conditions. Left to my own devices, I won\u2019t necessarily head off to the movies but rather to a museum. I have such vivid memories. As for the Louvre, I still haven\u2019t visited it often enough. I\u2019ve had some great times there \u2013 I remember some sublime paintings by Delacroix one particular morning… Most of all I recall saying to myself that what I was seeing through the windows was almost as beautiful as what I saw in the galleries.<\/p>\n\n\n\n

What\u2019s your relationship to the works themselves? What do you feel when you find yourself in front of the <\/strong>Mona Lisa<\/strong><\/em>, for instance?<\/strong><\/p>\n\n\n\n

The Mona Lisa<\/em>? I guess we\u2019re fascinated by the fascination she inspires. We no longer know if it\u2019s hers or the entire world\u2019s. You can look at her forever… It\u2019s the way she gazes at you, of course. And her hands.<\/p>\n\n\n\n

When you were being photographed at the Louvre, you immediately posed in relation to the paintings and sculptures around you, as though you yourself were the character that had been depicted.<\/strong><\/p>\n\n\n\n

There was a kind of mimicry. It was also a game \u2013 we were taking photos. The immobility of photography was ideal for reproducing the pose of the statue or painting. When I was in front of the V\u00e9nus de Milo<\/em>, I thought about the position of my shoulders. In the Salle des Caryatides, I thought about Vel\u00e1zquez\u2019s paintings \u2013 the big dress I was wearing had a lot to do with that. My hands just naturally placed themselves on the gown…<\/p>\n\n\n\n

You also told me about your interest in contemporary art. For example, you curated a Robert Mapplethorpe exhibition at the Thaddaeus Ropac Gallery.<\/strong><\/p>\n\n\n\n

I was in Australia when Thaddaeus Ropac proposed the idea. He sent me the whole Mapplethrope archive, and I spent hours looking at it. And then I began to make a selection… Obviously, the reason you ask someone to do that is because each person sees something that maybe no one else did before. We all see according to our own sensitivity, or even our ignorance, I don\u2019t know. So my inclination was towards Mapplethorpe photos we don\u2019t see very often, including landscapes. They were completely claustrophobic \u2013 just trees, with no air around them at all. Landscapes like closed spaces.<\/p>\n\n\n\n

Read the full interview in Num\u00e9ro art 14.
Parallel Tales (2026) by Asghar Farhadi, currently out in theatres. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The iconic French actress agreed to walk around with us at the Louvre Museum and […]<\/p>\n

Read More… from Interview with Isabelle Huppert at the Louvre for Num\u00e9ro art<\/span><\/a><\/p>\n","protected":false},"author":22,"featured_media":492394,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[76,88,3182,3182],"tags":[],"class_list":["post-492397","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-design","category-movies","category-numero-art-en"],"acf":[],"yoast_head":"\nIsabelle Huppert meets Num\u00e9ro art at the Louvre<\/title>\n<meta name=\"description\" content=\"Isabelle Huppert was in Cannes to present Asghar Farhadi\u2019s ambitious Parallel Tales (2026). Num\u00e9ro art met the iconic actress at the Louvre.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Isabelle Huppert meets Num\u00e9ro art at the Louvre\" \/>\n<meta property=\"og:description\" content=\"Isabelle Huppert was in Cannes to present Asghar Farhadi\u2019s ambitious Parallel Tales (2026). Num\u00e9ro art met the iconic actress at the Louvre.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/\" \/>\n<meta property=\"og:site_name\" content=\"Num\u00e9ro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/numeromagazine\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-26T10:14:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-05-26T10:14:47+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"1634\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"e.naroumbo@numero.com\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:site\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"e.naroumbo@numero.com\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"NewsArticle\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/\"},\"author\":{\"name\":\"e.naroumbo@numero.com\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/person\\\/56cdc8f5673490ba5dd01ad4b910032d\"},\"headline\":\"Interview with Isabelle Huppert at the Louvre for Num\u00e9ro art\",\"datePublished\":\"2026-05-26T10:14:32+00:00\",\"dateModified\":\"2026-05-26T10:14:47+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/\"},\"wordCount\":2298,\"publisher\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg\",\"articleSection\":[\"Art & Design\",\"Cinema\",\"Num\u00e9ro art\",\"Num\u00e9ro art\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/\",\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/\",\"name\":\"Isabelle Huppert meets Num\u00e9ro art at the Louvre\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg\",\"datePublished\":\"2026-05-26T10:14:32+00:00\",\"dateModified\":\"2026-05-26T10:14:47+00:00\",\"description\":\"Isabelle Huppert was in Cannes to present Asghar Farhadi\u2019s ambitious Parallel Tales (2026). Num\u00e9ro art met the iconic actress at the Louvre.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#primaryimage\",\"url\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg\",\"contentUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg\",\"width\":1300,\"height\":1634},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/art-design\\\/numero-art-en\\\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/numero.com\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Art & Design\",\"item\":\"https:\\\/\\\/numero.com\\\/en\\\/category\\\/art-design\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Num\u00e9ro art\",\"item\":\"https:\\\/\\\/numero.com\\\/en\\\/category\\\/art-design\\\/numero-art-en\\\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"Interview with Isabelle Huppert at the Louvre for Num\u00e9ro art\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/\",\"name\":\"Num\u00e9ro\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\"},\"alternateName\":\"Num\u00e9ro Magazine\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/numero.com\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\",\"name\":\"Num\u00e9ro\",\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Logo.svg\",\"contentUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Logo.svg\",\"width\":907,\"height\":181,\"caption\":\"Num\u00e9ro\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/numeromagazine\\\/\",\"https:\\\/\\\/x.com\\\/NumeroMagazine\",\"https:\\\/\\\/www.instagram.com\\\/numeromagazine\\\/\",\"https:\\\/\\\/fr.wikipedia.org\\\/wiki\\\/Num\u00e9ro_(magazine)\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/person\\\/56cdc8f5673490ba5dd01ad4b910032d\",\"name\":\"e.naroumbo@numero.com\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/f9c702c12fd9e619a89523bef5aa823f703f94e0e5b749aa8d364a4d9a1fe2de?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/f9c702c12fd9e619a89523bef5aa823f703f94e0e5b749aa8d364a4d9a1fe2de?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/f9c702c12fd9e619a89523bef5aa823f703f94e0e5b749aa8d364a4d9a1fe2de?s=96&d=mm&r=g\",\"caption\":\"e.naroumbo@numero.com\"},\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/author\\\/e-naroumbonumero-com\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Isabelle Huppert meets Num\u00e9ro art at the Louvre","description":"Isabelle Huppert was in Cannes to present Asghar Farhadi\u2019s ambitious Parallel Tales (2026). Num\u00e9ro art met the iconic actress at the Louvre.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/","og_locale":"en_US","og_type":"article","og_title":"Isabelle Huppert meets Num\u00e9ro art at the Louvre","og_description":"Isabelle Huppert was in Cannes to present Asghar Farhadi\u2019s ambitious Parallel Tales (2026). Num\u00e9ro art met the iconic actress at the Louvre.","og_url":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/","og_site_name":"Num\u00e9ro","article_publisher":"https:\/\/www.facebook.com\/numeromagazine\/","article_published_time":"2026-05-26T10:14:32+00:00","article_modified_time":"2026-05-26T10:14:47+00:00","og_image":[{"width":1300,"height":1634,"url":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg","type":"image\/jpeg"}],"author":"e.naroumbo@numero.com","twitter_card":"summary_large_image","twitter_creator":"@NumeroMagazine","twitter_site":"@NumeroMagazine","twitter_misc":{"Written by":"e.naroumbo@numero.com","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"NewsArticle","@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#article","isPartOf":{"@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/"},"author":{"name":"e.naroumbo@numero.com","@id":"https:\/\/numero.com\/en\/#\/schema\/person\/56cdc8f5673490ba5dd01ad4b910032d"},"headline":"Interview with Isabelle Huppert at the Louvre for Num\u00e9ro art","datePublished":"2026-05-26T10:14:32+00:00","dateModified":"2026-05-26T10:14:47+00:00","mainEntityOfPage":{"@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/"},"wordCount":2298,"publisher":{"@id":"https:\/\/numero.com\/en\/#organization"},"image":{"@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#primaryimage"},"thumbnailUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg","articleSection":["Art & Design","Cinema","Num\u00e9ro art","Num\u00e9ro art"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/","url":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/","name":"Isabelle Huppert meets Num\u00e9ro art at the Louvre","isPartOf":{"@id":"https:\/\/numero.com\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#primaryimage"},"image":{"@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#primaryimage"},"thumbnailUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg","datePublished":"2026-05-26T10:14:32+00:00","dateModified":"2026-05-26T10:14:47+00:00","description":"Isabelle Huppert was in Cannes to present Asghar Farhadi\u2019s ambitious Parallel Tales (2026). Num\u00e9ro art met the iconic actress at the Louvre.","breadcrumb":{"@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#primaryimage","url":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg","contentUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/thumb-numero-artisabelle-huppert-musee-louvre-cover-sidonie-au-japon-numero-magazine-1.jpg","width":1300,"height":1634},{"@type":"BreadcrumbList","@id":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/interview-with-isabelle-huppert-at-the-louvre-for-numero-art\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/numero.com\/en\/"},{"@type":"ListItem","position":2,"name":"Art & Design","item":"https:\/\/numero.com\/en\/category\/art-design\/"},{"@type":"ListItem","position":3,"name":"Num\u00e9ro art","item":"https:\/\/numero.com\/en\/category\/art-design\/numero-art-en\/"},{"@type":"ListItem","position":4,"name":"Interview with Isabelle Huppert at the Louvre for Num\u00e9ro art"}]},{"@type":"WebSite","@id":"https:\/\/numero.com\/en\/#website","url":"https:\/\/numero.com\/en\/","name":"Num\u00e9ro","description":"","publisher":{"@id":"https:\/\/numero.com\/en\/#organization"},"alternateName":"Num\u00e9ro Magazine","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/numero.com\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/numero.com\/en\/#organization","name":"Num\u00e9ro","url":"https:\/\/numero.com\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/numero.com\/en\/#\/schema\/logo\/image\/","url":"https:\/\/numero.com\/wp-content\/uploads\/2024\/04\/Logo.svg","contentUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/04\/Logo.svg","width":907,"height":181,"caption":"Num\u00e9ro"},"image":{"@id":"https:\/\/numero.com\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/numeromagazine\/","https:\/\/x.com\/NumeroMagazine","https:\/\/www.instagram.com\/numeromagazine\/","https:\/\/fr.wikipedia.org\/wiki\/Num\u00e9ro_(magazine)"]},{"@type":"Person","@id":"https:\/\/numero.com\/en\/#\/schema\/person\/56cdc8f5673490ba5dd01ad4b910032d","name":"e.naroumbo@numero.com","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/f9c702c12fd9e619a89523bef5aa823f703f94e0e5b749aa8d364a4d9a1fe2de?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/f9c702c12fd9e619a89523bef5aa823f703f94e0e5b749aa8d364a4d9a1fe2de?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/f9c702c12fd9e619a89523bef5aa823f703f94e0e5b749aa8d364a4d9a1fe2de?s=96&d=mm&r=g","caption":"e.naroumbo@numero.com"},"url":"https:\/\/numero.com\/en\/author\/e-naroumbonumero-com\/"}]}},"_links":{"self":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts\/492397","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/comments?post=492397"}],"version-history":[{"count":1,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts\/492397\/revisions"}],"predecessor-version":[{"id":848242,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts\/492397\/revisions\/848242"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/media\/492394"}],"wp:attachment":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/media?parent=492397"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/categories?post=492397"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/tags?post=492397"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}