Chloë Sevigny and Lily McInerny Reveal Secrets of a Provocative New Bonjour Tristesse Remake

Bonjour Tristesse” is a cinematic, vibrantly picturesque summer movie that makes you feel like merging with the scene itself. Debuting director Durga Chew-Bose, an acclaimed journalist and author of the 2017 book “Too Much and Not the Mood: Essays”, helms this production. This film is a contemporary reinterpretation of Françoise Sagan’s 1954 novel, which had been adapted for the screen before by Otto Preminger in 1958.

For actresses Lily McInerny and Chloë Sevigny, the setting of filming in Cassis, France mirrored their characters’ usual routines. “Chloë and I would often spend our weekends on the beach,” said McInerny, who made her first film appearance in 2022’s “Palm Trees and Power Lines.” “I’d practice my lines while sipping an Aperol Spritz during those times.”

(The goal here is to make it more conversational and less formal.)

The strife between the characters portrayed by McInerny and Sevigny serves as the driving force behind this upcoming coming-of-age tale, hitting theaters this Friday. In the story, McInerny’s character Cecile is an 18-year-old with a carefree spirit, traveling with her widowed father Raymond (Claes Bang) and his girlfriend Elsa (Nailia Harzoune). The arrival of Sevigny’s Anne, a close friend of Cecile’s deceased mother, disrupts their vacation by initiating a relationship with Raymond. In response, Cecile hatches a scheme to split them up by encouraging Elsa and her own boyfriend Cyril (Aliocha Schneider) to pretend to be a couple, hoping that Raymond’s jealousy will force Anne away.

The movie “Bonjour Tristesse” is set in the present day but has an old-fashioned feel to it. It seems to be timeless, capturing a sense reminiscent of classic Hollywood or the French New Wave era, as described by Sevigny. This film stands out stylistically with its unique tempo and measured pace, which Sevigny points out can sometimes be challenging for mainstream audiences.

If a movie was French, directed by Rohmer or Almodovar, you’d likely find yourself more immersed in it, rather than constantly interrupting it. This slower pace is characteristic of foreign films, and when someone tries to replicate it in English-language films, it can be difficult for viewers to adapt.” – Sevigny explained.

McInerny points out that this unique style might stand out in a modern movie, as it’s not typically what we see. It departs from the norm with a strong sense of confidence.

In what follows, McInerny and Sevigny discuss with EbMaster the dynamic of working together as costars, the nature of their on-screen relationship, and their contrasting viewpoints regarding the central theme of the movie’s climactic event.

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McInerny and Sevigny share insights with EbMaster about bonding as co-stars, the intricacies of their characters’ relationship, and their varying takes on the film’s key plot twist.

Lily, I read that you’ve known Durga for a long time. Can you tell me about how you first met?

McInerny shares an enchanting, almost unreal tale about his first encounter with Durga. They were connected through her friendship with his college-going cousin and served as babysitters to him and his brother when he was approximately ten years old. This happened before either of them had achieved significant success in their respective fields – hers as a writer and filmmaker, and his as an actor. As he matured, he kept track of her writing endeavors, while she observed his growth as an actor. The casting for “Bonjour Tristesse” marked a serendipitous reunion of sorts.

How did working with a director that you knew personally beforehand help you shape this character, who is in this coming-of-age part of her life?

She made me feel entirely at ease, allowing me to freely share everything and explore all emotions without fear of criticism or ridicule, even for unconventional suggestions or seemingly foolish ideas. There was always a sense of safety and acceptance that encouraged me to express myself openly.

Did you both feel an immediate connection to your characters?

McInerny initially didn’t know the original novel before joining the film project, which meant he lacked prior understanding of its historical significance or depth when he first received the call. However, upon getting involved, he promptly read the book and it swiftly became one of his all-time favorites. To this day, it remains a favorite, not just because of bias, but due to his deep affection for Cécile, the world Durga crafted, and the world Françoise Sagan initially envisioned for us. In addition, McInerny is simply a big admirer of Françoise Sagan herself and found that our entire production drew substantial inspiration from her life. Although “Bonjour Tristesse” is fictional, he felt as though we were greatly influenced by the life lived by Françoise Sagan.

Sevigny had been predominantly engaged in TV work with high-stakes projects when she was offered a chance to portray a character who was more introspective, quiet, elegant, and graceful. She saw this as an opportunity to explore something inside her that she hadn’t expressed on screen before and considered it a chance to test her abilities in this area.

How did you prepare to play these two characters, given that their relationship is so central to the story?

Sevigny: It’s quite coincidental, but Lily resided on the same street as mine in Manhattan during her upbringing. As a result, we shared many common acquaintances in New York City. In fact, her boyfriend once dated one of my closest friends, and interestingly enough, we utilized her image for the portrayal of Cécile’s mother in our film. There seems to be a connection there. Lily attended LaGuardia High School, and being native New Yorkers, we shared an unspoken bond on set that made things easier. We got along quite well, and I must say we were fortunate. We were truly blessed, as I hold Lily in high regard!

McInerny: For real.

Sevigny: Lily is quite the joker, and this role was a significant chance for her. I wanted to contribute whatever I could to enhance the narrative and support both Lily and Durga. With 30 years in the industry, making choices now, especially when it involves being away from my family, hiring sitters, and missing out on time with my child, is not easy. I wouldn’t say I’m more choosy, but I have to truly believe in a project for it to be worthwhile. Part of that belief was in these two women and wanting to assist them in their journey.

Chloë, I appreciate it so much when I say I love you, but the faith you had in me really stretched far. Your support, friendship, and positive outlook gave me the strength to tackle something difficult and intimidating at times. It was absolutely priceless for my success, so thank you very much.

Lily, there’s a shot of Cécile just untangling her earbuds. How does Cécile being a modern teenager with access to technology add to this character that has been around for years?

I pondered over this point extensively. Is the portrayal of Cecile in our modern adaptation significantly different from the Preminger version or the original novel? A key consideration while developing a contemporary version of Cecile was exploring how perceptions of identity, femininity, and sexuality are expressed in today’s digital era. This includes examining her interactions with social media platforms and how they might shape her self-image as a young woman growing up. For instance, we have a scene where she applies makeup while looking at her MacBook screen, likely seeking fashion inspiration on Pinterest, and curating specific playlists on Spotify. However, Cecile also appears to be deeply rooted in the present and maintains a strong connection with her lifestyle with Raymond, suggesting that she is not overly reliant on online activities. Instead, she seems to spend a lot of time being idle and discovering innovative ways to amuse herself and her loved ones during these moments.

When Anne first arrives at the villa, she and Cécile embrace. It’s clear that Cécile has grown up knowing who this woman is. Lily, in that moment, how does Cécile view Anne and how does that perception change throughout the film?

Speaker: Anne serves as a connection to my father’s hidden past that he has kept veiled. She is also connected to my mother, who I tragically lost at a tender age. To me, she embodies the key to this past that was inaccessible to me as a young adult daughter. It’s fascinating at that stage of life when you begin to perceive adults not just as authority figures but as peers, and you start to delve into the histories of your parents, probing the people they were before you entered their lives. Hence, I am captivated by Anne, and I eagerly anticipate uncovering more about her and piecing together the intriguing puzzle of my father’s enigmatic past.

Chloë, vice versa, how does Anne think of Cécile at the beginning of the film and how does that evolve?

Anne likely feels remorse for not spending more time with her and not being as present in Cécile’s life. She justifies this with work commitments and lack of access, but she might perceive it as a significant loss and deeply misses her friend. Seeing reminders of Cécile can be unsettling for her. Over time, Anne yearns to reconnect and help in any way she thinks is beneficial. However, her attempts often backfire, causing Cécile to become slightly irritated.

What did you both think of Cécile’s conceit, her plan to break up her father’s new relationship with Anne by using Elsa and Cyril? Especially Lily, considering you hadn’t read the novel before this project?

In the previous project, McInerny portrayed a story that showcased vulnerability in a teenage girl character. This time, he was eager to depict a teenage girl discovering her power instead, as it’s not often we see such characters. The earlier film focused on a beautiful but fragile narrative of a victim entangled in a harmful situation. For this role, McInerny was thrilled to delve into a more antagonistic persona, one that could be understood and supported, despite being villainous. The turning point in Cécile’s decision to end their relationship seemed to be when her romantic relationships were under threat, and her sexual independence was at stake. Once Anne started influencing the realm of love McInerny’s character cherished, he would go to any lengths to safeguard that aspect of himself.

I indeed ran into a similar situation. However, I was faced with the possibility of exploring the narrative of an older woman being replaced by a younger one. I’ve observed this happening in real life, including among a close friend of mine who is an artist. She dedicated years to her art and relationship, but ended up with a partner 30 years her junior. It just seems to occur, despite our efforts to avoid or suppress it. Nevertheless, I felt that delving into the dynamics between a daughter and father, as well as female relationships, could have been more compelling. Additionally, the chance to collaborate with Durga and Lily was enticing enough to overshadow this dilemma for me. Yet, I continue to struggle with these feelings.

This interview has been edited and condensed.

2025-05-02 21:48