{"id":501461,"date":"2022-04-11T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/culture\/rebecca-marder-a-discreet-and-brilliant-actress-2\/"},"modified":"2024-06-20T17:20:13","modified_gmt":"2024-06-20T15:20:13","slug":"rebecca-marder-a-discreet-and-brilliant-actress-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/rebecca-marder-a-discreet-and-brilliant-actress-2\/","title":{"rendered":"Rebecca Marder, a discreet and brilliant actress"},"content":{"rendered":"\n
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Veste, CHANEL<\/figcaption>\n <\/figure>\n \n

On the billing for five films this year, Rebecca Marder arrives for our interview in an elusive mixture of discretion and luminosity,<\/strong> as though she were apologizing for being there and yet had no intention of effacing herself. An actress\u2019s paradox, perhaps, and a form of mystery too, one that the 27-year-old makes excellent use of in her roles on screen. Her way of revealing her emotions drop by drop is what makes her performance so strong in Sandrine Kiberlain\u2019s first film, Une jeune fille qui va bien<\/i>, which came out in January. In her first lead role in a movie, Marder plays a young Jewish girl in 1942 France, cradled by her dreams but confronted with tragic reality. As another war shakes Europe today, how is Rebecca Marder doing this spring, 2022?<\/p>\r\n\r\n

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Suddenly, the veil of levity that covered our conversation for the past hour is ripped away. The world enters our discussion with its full force. <\/strong>\u201cThe news right now is terrifying. I\u2019m very worried, I spend entire nights watching the news in a state of shock, I feel completely helpless faced with the ignominy of the war in Ukraine. It\u2019s unimaginable. It\u2019s sometimes hard to continue believing in the passion that is acting without feeling completely powerless. The daily routine, the \u2018artistic\u2019 professional life that carries on for us a few kilometres from the theatre of war can have a rather crushing taste of \u2018before the fall.\u2019 Nonetheless, I try to believe that what I do for a living isn\u2019t superfluous and that I can contribute to a necessary mission of culture and entertainment. And, indeed, in Sandrine Kiberlain\u2019s film, I play a young Frenchwoman who, in 1942, thinks she\u2019s going to make a life in the theatre, whereas the monster of war, hiding in the shadows, has other ideas. The insolence and beauty of her age is what allows her still to hope. It\u2019s her youth, this youth that should never be cut down, that the film talks about, and that resonates enormously with the situation today.<\/em>\u201d<\/p>\r\n\r\n

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She says all of this in a voice that, though calm, is animated by a powerful interior flame. <\/strong>Yet again it seems that Marder has learned to levitate, that she comes from somewhere very deep. Though she has barely begun her second quarter century, her acting experience is far superior to that of many performers who have spent a lifetime on stage or in front of the camera. An experience that owes much to an event that occurred when she was ten: growing up in Paris, between the 5th and 13th arrondissements<\/i>, she had a chance encounter with a casting director while she was singing in a choir at the music conservatory, which led to her first film, a children\u2019s comedy with Sandrine Bonnaire and Pascal L\u00e9gitimus. \u201cMy mother was very much against my being in film at such a young age, she was a total anti stage mother, whereas my father was much more favourable and encouraging. Just after this first movie experience, I met my agent Laura Meerson, and 16 years later we\u2019re still working together. I was in a film shoot almost every summer during the school holidays, and I soon realized I couldn\u2019t live without doing this job.\u201d After her baccalaur\u00e9at, she began higher education, but left halfway through the first year to pursue a new adventure in cinema. \u201cI also began studying at the Paris 7 faculty of film and literature, which I loved, but another shoot meant I missed the exams to go into the second year. After that, I decided to try for theatre school, and made it into the TNS in Strasbourg. A year later, the Com\u00e9die-Fran\u00e7aise offered me an audition to become part of the troop.<\/em>\u201d<\/p>\r\n\n

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Veste, haut, broche et ras-du-cou, CHANEL. Boucles d\u2019oreilles, CHANEL JOAILLERIE.<\/figcaption>\n <\/figure>\n \n

The intensity of Marder\u2019s acting can perhaps be metaphorically read into the way she arrived at the \u201cFran\u00e7ais\u201d \u2013 like a hurricane. <\/strong>The audition was held on a Friday, and the following Monday she was hired. \u201cThat Thursday, I had to start rehearsals. It was like a parachute jump, a before and after in my life.\u201d She had just turned 20, and was starting out in what she calls her \u201cmaison m\u00e8re,\u201d the troop that became her \u201cfoundation. It was an incredibly intense apprenticeship, seven years of stimulation by a quest for excellence and an energy that you\u2019ll find almost nowhere else and that pulls you upwards and onwards. After seven years in this unique theatre, where I arrived very young, I wanted to try something else, a different pace, and also maybe to find out who Rebecca is when shorn of the honorable title \u2018de la Com\u00e9die-Fran\u00e7aise.\u2019 At the Fran\u00e7ais, you might be on stage six times in a weekend in four different plays, which is both galvanizing and tiresome. When I took this leap into the unknown, when I left my home, my troop, I clutched onto the coincidence of the time I\u2019d spent within these venerable walls: seven years, seven as a symbolic figure, the age of reason, the renewal of the body\u2019s cells, the seven-year itch. In future, I hope to be able to do both film and stage work<\/em>.\u201d<\/p>\r\n\r\n

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Marder takes her profession very seriously. <\/strong>Though it\u2019s with her body that she acts, it\u2019s the written word, the literary, from which she is constituted. Hers is a deep relationship with words that recently brought her into the orbit of Arnaud Desplechin<\/a> for a key scene in Tromperie<\/i>, the cult director\u2019s latest film. \u201cArnaud is a great director, I could feel his love of acting and actors, which makes him a true actor\u2019s director. He\u2019s very precise, and already has the whole film worked out in his head. He\u2019s extremely meticulous \u2013 he knew that a sticking plaster on my character\u2019s hand could say a lot of things<\/em>.\u201d In a completely different vein, we\u2019ll soon see Marder playing one of the greatest women of French history in Simone \u2013 Le voyage du si\u00e8cle<\/i>, the new movie by Olivier Dahan which comes out this October. \u201cSimone Veil was an extraordinary woman. Her life, her destiny, the causes she fought for, her faith in humanity even though she had suffered the worst that mankind can do, make of her an entirely exceptional character. I play her between the ages of 15 and 37, when she was director of the prisons service. The script isn\u2019t written chronologically, it looks to tell her life story, to recount History, but also talks about memory, love and courage. I read everything there was on her, including her own writings, and I watched her in interviews. I listened to her voice for hours on end. I felt a lot of pressure to be worthy of this woman who came down from the heavens<\/em>.\u201d [A survivor of Auschwitz, Veil was the health minister who pushed for the legalizion of abortion in France.]<\/p>\r\n\n

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Robe, CHANEL. Boucles d\u2019oreilles, manchette et bracelet, CHANEL JOAILLERIE.<\/figcaption>\n <\/figure>\n \n

Marder sought to capture Veil\u2019s \u201clook between the living and the dead<\/em>,\u201d but without doing a straight imitation. The decision was taken with the approbation of the director, whose love for actors she praises. \u201cOlivier Dahan and I exchanged very few words but a lot of information about Simone Veil. <\/em><\/strong>Olivier\u2019s cinematic knowledge is so vast, he composes his images like a painter and is a master at what he does. Sometimes we understood each other with just one word. I felt a little destabilized at the beginning but he\u2019s so good at choreographing the mind and the body that I began to realize that a command like \u201cLower your chin on that word\u201d was enough to bring out in me all the emotion and authenticity needed to play a certain situation. What\u2019s wonderful about being an actor is that, beyond the thrill of being able to live several lives, you enter a different world with each new director. It\u2019s also about bringing a little something so that our two worlds give birth to a character. I like this sensation, which is in no way a dispossession. I never feel \u2018possessed\u2019 by my roles. They\u2019re encounters that accompany me and raise me up, and sometimes they even feel like friends I\u2019ve lost sight of but who are part of my life.<\/em>\u201d After Chanel<\/a> spotted her, Marder was invited to collaborate with the venerable fashion house. \u201cChanel maintains a very strong link with creativity. Thanks to the brand, I got to go to my very first opera. They organize literary encounters, and it was through them I discovered new books. There\u2019s such an intelligence at Chanel, and an art of passing on skills and knowledge, a real sense of history. What\u2019s more, in each collection there\u2019s a story that says something about women\u2019s liberation, the cult of freedom. And emancipation is also a constant in my work. All my recent roles have been women who were very much in charge of their own destiny…<\/em>\u201d<\/p>\r\n\r\n

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Marder will be in the headlines a lot these next few months, in particular during the Festival de Cannes<\/a>. <\/strong>We\u2019ll be seeing her in Sylvain Desclous\u2019s De grandes esp\u00e9rances<\/i>, a film about political secrets and ambitions, in which she shares billing with Benjamin Lavernhe. She\u2019s also in Michel Leclerc\u2019s drama Les Go\u00fbts et les Couleurs<\/i>, in which, alongside F\u00e9lix Moati, she plays a successful but overwhelmed young singer. Besides the Simone Veil biopic, the movie everyone is most impatient to see her in is No\u00e9mie Lvovsky\u2019s La Grande Magie<\/i>, based on a play by Eduardo De Filippo. The songs for this slightly deviant musical were composed by the group Feu! Chatterton, with Marder playing the ghost of a young lover who died of heart disease and continues to follow her paramour, singing love songs to him even though he can no longer see her… This sort of off-the-wall project matches perfectly what Marder gives off in front of a camera, her extraordinary aura when filmed. For, despite all her years on stage, she seems to incarnate cinema entirely naturally. Her American father encouraged her cinephilia from a very young age, which led her to discover Anna Magnani and Italian movies, Fassbinder<\/a> and his strange muses, musicals with Fred Astaire, Akira Kurosawa<\/a> Dodes\u2019kaden<\/i>, Judd Apatow, and many more. She saw films that were \u201creally not suitable\u201d for her age that showed her how far it was possible to go on the big screen. Moreover, one of her strongest memories says much about how unusual Marder is. \u201cIn high school I watched Woman in the Dunes, a 1960s film by Hiroshi Teshigahara. The heroine spends her entire time sweeping away the sand that invades her house at the bottom of a hole in the desert.<\/em>..\u201d<\/p>\r\n\r\n

 <\/p>\r\n","protected":false},"excerpt":{"rendered":"

On the billing for five films this year, Rebecca Marder arrives for our interview in […]<\/p>\n

Read More… from Rebecca Marder, a discreet and brilliant actress<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":501453,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[88,87],"tags":[],"class_list":["post-501461","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies","category-culture-en"],"acf":[],"yoast_head":"\nRencontre avec Rebecca Marder, actrice discr\u00e8te et \u00e9clatante<\/title>\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\/culture-en\/rebecca-marder-a-discreet-and-brilliant-actress-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rencontre 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