Annecy Contender ‘Death Does Not Exist’ by Félix Dufour-Laperrière Gets Political: ‘There’s Urgency to Redistribute Wealth’

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The primary competitor for Annecy, titled “Death Does Not Exist,” is a film with political undertones. Quebeç director Félix Dufour-Laperrière doesn’t shy away from acknowledging its political nature.

There’s a pressing need to reallocate wealth and maintain a compassionate global environment. As a parent of two, I long for my children to inherit a habitable world. At the same time, I recognize a genuine frustration about the current state of our world that demands attention. This discontent is not only mine or yours, but also shared by our fellow Americans,” he explains to EbMaster regarding his recent animated project.

The movie arises from these contrasting elements. It’s important to nurture what you cherish, yet that alone isn’t enough when we share a global duty. It’s a sad story that portrays violence, but it also embodies dedication, beliefs, loyalty, and relationships.”

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“The movie originates from these paradoxes. Cherishing what you love is essential, yet it falls short when considering our shared obligation towards the world. It’s a heartbreaking narrative that depicts violence, but it also illustrates commitment, principles, loyalty, and bonds.

In the film “Death Does Not Exist”, which debuted at Cannes Directors’ Fortnight, a young woman named Hélène escapes to the woods after an unsuccessful assault on a very affluent family using firearms. Her fellow rebels have vanished, but the spirit of one of them, Manon, persists in tormenting her, much like her personal and political decisions do.

Dufour-Laperrière highlights the intriguing mix of her character’s loyalty toward moral values, friendships, and affection. He also aims to portray the immediate effects of violence – on both victims and perpetrators.

Delving further and further into the untamed wilderness, much like the enigmatic world in Tarkovsky’s “The Zone,” where “Stalker” remains one of my favorite movies, I find myself struck with a deal akin to Faust – a pact made with Manon.

The beginning and end are both intense, with a more introspective section in the middle. To me, it feels authentic, even if it’s surreal. Characters experience their dreams materializing. Some dreams are aware, like those involving political or social change, while others are subconscious, such as an urge to begin something fresh.

He adds: “In the realm of animation, everything is real.”

As has been noted earlier, the act of perceiving things and people carries a political dimension. While a static image may work, it’s clear that a dynamic, evolving visual is more unstable and fluid. I find it intriguing that in animation, ideas and feelings can be personified, but they are always in motion. One can only capture a piece of it.

As a passionate movie-goer, I found myself immersed in a story where my central character, far from being your typical action hero, exhibited a unique brand of strength born out of tragic circumstances. This resilient figure finally had the opportunity to face off against some of the very individuals she’d been battling all along.

Although they appear identical in terms of setting and color, they carry similar underlying meanings. I find myself ambivalent about the actions of these children, but their behavior seems to reflect their strong convictions and beliefs. I don’t advocate for violent acts or justify them, but violence is a reality. Furthermore, the power of speech is being taken away – by a select few. Those who lose their voice in this manner cannot simply accept it.

At first, his film was much darker. 

This story was incredibly deterministic, yet I endeavored to expand its scope, infusing it with more room for life’s complexities and connections. In my efforts to be truthful in my narrative, I drew from my personal experiences and convictions. Despite my inherent pessimism, I remain deeply captivated by the beauty of life,” I confess.

In 2021, “Archipelago” by Dufour-Laperrière earned an award at Annecy. However, due to its politically charged nature, selling “Death Does Not Exist” was not a straightforward task.

Because of substantial public funding in Quebec and Canada, we’re fortunate enough to invest fully in our projects. This is why I chose to self-produce ‘Embuscade Films’ project with my brother Nicolas. By maintaining control over the production, we can ensure that all available funds are effectively used on screen.

Additionally involved in this project are Emmanuel-Alain Raynal from Miyu Productions and Pierre Baussaron from Miyu Distribution. They join forces with Best Friend Forever and UFO Distribution as well.

Collaborating with our partners, I understand that we aren’t expecting financial riches from this movie. Yet, the journey promises to be an entertaining and enjoyable rollercoaster ride.”

Or:

“Working together with our partners, I recognize that we won’t become rich by selling this film. But, rest assured, it will offer a delightful, entertaining experience for everyone involved.

Fun and serious, he underlines. 

In adult-oriented animation, it’s appropriate for us grown-ups to discuss the world and our emotions. Being an adult involves attempting to express the complexity of our shared experiences, and in my opinion, films should strive to accomplish that too. When my children ask me why I create them, I respond: ‘It’s a method for me to live my life.’ It’s a lovely way,” he explains.

“Without wanting to sound pretentious, for me, art is a serious matter.”

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2025-06-08 13:46