Marion Cotillard and Lucile Hadžihalilović Salute Actors and Artifice in Fractured Fairy Tale ‘The Ice Tower’

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Twenty years since their previous project, actress Marion Cotillard once again teams up with director Lucile Hadžihalilović for “The Ice Tower,” a tale somewhat shattered in structure that draws inspiration not only from the stories of Hans Christian Andersen but also from Hadžihalilović’s personal experiences during her formative years.

In the spirit of admiration, I’d like to share my thoughts on a captivating film that debuted at the Berlin Film Festival during the 1970s. This enchanting production transports us to a bygone era and follows the tale of a young, forlorn orphan who finds herself irresistibly drawn into an alluring infatuation with a movie star, who was in the midst of filming an adaptation of Hans Christian Andersen’s “The Snow Queen.” The obsession between them grows increasingly hypnotic and mutual, making it impossible to look away.

According to Hadžihalilović, all of his movies are like fairy tales. He doesn’t feel the need to set his stories within the context of everyday life or modern times. Instead, the narrative structure of a storybook feels organic, enabling him to infuse poetry and create an escape.

Of course, Cotillard portrays the royal movie star character – described as a “cold, cold woman” by the director – who embodies both elegance and a hint of something harsh. After their collaboration on the 2004 film “Innocence,” Hadzihalilović felt it was time for Cotillard to explore some new acting dimensions.

The director remarks that [Marion] has an extraordinary ability to instill fear. Rarely have I seen her in such a role, yet she possesses a unique blend of sensuality and aloofness that is both contemporary and timeless. Her acting style resonates with me, as it embodies the kind of cinema I admire.

Without a doubt, “The Ice Tower” explores the theme of cinephilia. While not directly portraying herself, Hadžihalilović intentionally positioned this visual tale of growing up at the time of her own teenage years.

According to Hadžihalilović, the world remained shrouded in mystery during the 1970s due to our lack of internet access. There were no televisions or print media depicted in the film, which was crucial for believing in the potency and impact of the actors and visuals, as well as the mysteries they embodied.

She goes on to say that the movie mirrors an emotionally intense moment of discovery. It’s like the sensation you get as a teenager when you go to the movies by yourself, surrounded by strangers. However, in this case, the young character doesn’t experience this at the cinema but rather on a film set, making it even more compelling.

To achieve their objective, Hadžihalilović and D.P Jonathan Ricquebourg (“The Taste of Things”) strove for a meticulously detailed set design, where each scene was almost obsessively focused on showcasing the beauty of artificiality; unlike many films about the enchantment of cinema, here that ethereal radiance extended to the backstage areas and partially constructed sets as well.

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In order to accomplish their aim, Hadžihalilović and D.P Jonathan Ricquebourg (“The Taste of Things”) worked hard to create a highly detailed mise-en-scène that made each shot almost obsessively focused on the beauty of artificiality; unlike most films about the magic of filmmaking, here that otherworldly glow also illuminated the backstage halls and sets under construction.

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Hadžihalilović and D.P Jonathan Ricquebourg (“The Taste of Things”) aimed to achieve their goal by carefully designing a mise-en-scène so detailed that it almost fetishized the aestheticization of artifice; unlike most films about the allure of filmmaking, here that supernatural glow also enveloped the backstage areas and sets still being built.

The director mentions they drew inspiration from ‘The Spirit of the Beehive’ by Victor Erice. This film distorts reality as seen through a child’s perspective. Similarly, our intention was to mimic this approach, adding a touch of magic and style to our work, capturing the world through the eyes of a young girl, making everyday moments appear more charming and enchanted.

A careful observer may spot a well-known figure, dramatically transformed almost beyond recognition, as Gaspar Noé – a frequent partner of Hadžihalilović’s – takes on the troubled director role in the movie-within-the-movie.

She found it amusing to choose Gaspar as a director who was unlike his typical self,” she chuckles, “yet it was his idea to sport a wig. That was his only stipulation. I asked him to act in the movie, and he agreed, saying he’d do it for free if he could wear a wig!

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2025-02-16 06:46