As a seasoned cinephile with decades of film-watching under my belt, I must say that Bertrand Bonello is a director who constantly challenges and intrigues me. His latest work, “The Beast,” is a testament to his unique storytelling abilities, blending genres effortlessly while exploring the complexities of technology and human emotion in a thought-provoking manner.
As I bask in the sunlight-kissed streets of medieval Lucca, clad in white, my thoughts drift towards the future, reflecting on the lessons gleaned from my science-fiction drama “The Beast,” which graced the screens this week at Lucca Comics and Games. In conversation with EbMaster, I discuss the insights gained from this film, ponder over the evolving landscape of cinema, and delve into the intriguing realm of artificial intelligence.
In the year 2044, I find myself in the heart of Paris, where AI dominates and human emotions are seen as dangerous. To eliminate these emotions, individuals like Gabrielle are required to undergo DNA purification by delving into their past lives. As I journey through time, I reconnect with my timeless love, Louis. However, I’m haunted by a sense of impending doom, a premonition that disaster looms on the horizon.
In the movie, Lea Seydoux portrays Gabrielle, and George MacKay embodies Louis. The storyline is adapted from the short novel “The Beast in the Jungle” penned by Henry James.
What are your thoughts on AI?
“It’s freaky. So powerful. I would never use AI in creative direction. For example, I asked AI to write a Bertrand Bonello script. In six or seven seconds, it writes a story of four pages. It’s not very good, but it’s not absurd. For a film, it’s impossible to follow. But if you’re writing episode four of Season 2 of a series, it can do the job. And this is now. What is it going to be in three or four years?”
It’s coming down the pipeline.
Indeed, the reason for this lies in the financial aspect. This applies to actors, voice actors, and writers alike. However, what makes this process unique is that it encourages creators to delve deeper into their personal experiences, as artificial intelligence currently lacks the ability to exhibit such intimacy.
“The Beast” expresses concerns about technology and how it might serve to help rid ourselves of our traumas.
In my screenplay, I utilize the concept of past lives as a metaphor for deep-seated traumas. While I don’t literally believe in past lives, I do strongly believe in ancestral traumas and subconscious traumas. For instance, the character Gabrielle in 2044 embodies all the Gabrielles that came before her, a fact we may understand, but she does not. The same applies to Louis. So, how do we address these traumas in their lives? They serve a purpose because they shape us, yet they cause us pain.
You’ve always played with genre. “The Beast” is a mix of period drama, crime and science fiction. Is it somewhere you feel like going further with in future work?
This movie feels like a concluding chapter in my journey. It seems as though all my movies have been building up to this one, and now it’s time for me to move forward and explore new territories.
You made all these films, and this is your sort of final traumatic expression.
During my travels with the film, I stumbled upon a realization that wasn’t something I was actively seeking out. After wrapping up a movie, it doesn’t simply end for me; rather, it continues to educate me about its essence. This understanding often comes from others – be they critics or viewers who grasp the film in ways I may not have initially considered due to its unconscious aspects. I find these parts particularly valuable.
What’s your new project?
It’s a little early to talk about it. It’s going to be very different. It’s going to be completely different. The writing is finished, and we’re going to start the casting process. I’m going to announce it once the casting is done. I hope to start shooting next September.
How else is cinema changing?
The landscape of cinema is undergoing a transformative shift, characterized by a widespread evolution. This transformation can be attributed to the advent of streaming platforms and the rise of serialized storytelling, which has significantly altered viewer preferences. As creators, it’s crucial to adapt to these changes and incorporate them into our work without resorting to negative stereotypes or dismissive language. Instead, let’s appreciate this strange yet captivating evolution as a challenge that both tests and expands our creative boundaries. To remain relevant, we must strike a delicate balance between preserving the essence of traditional cinema and embracing the innovations of modern storytelling. Neglecting either end could lead to obsolescence.
Can you give me an example of that?
About fifteen years ago, movies and TV shows were the primary form of entertainment, but now for viewers, everything seems fictional due to the fluid nature of content. With COVID, many people adapted to watching films on their computers. However, there’s a challenge with this – films watched on a computer tend not to leave a lasting impression, as one might say, they don’t make a strong “stain” in memory. When I fly and observe people watching movies on their iPhones, I often wonder if my work is involved. In some sense, yes; it’s challenging to get my films into theaters. Yet, I must also consider that some people will watch it on an iPhone, so I need to ensure my content appeals to both theater-goers and those watching on their phones.
So even when you’re thinking of the framing?
I’m sorry, but my work is primarily focused on creating films for cinematic viewing. If you’d rather watch it on your iPhone, that’s unfortunate, but I can’t alter the aesthetic of the film to suit smaller screens.
It feels like you’re hopeful.
Even when things seem tough, remembering that there’s a glimmer of hope ahead helps me press on instead of giving up entirely.
This interview has been edited and condensed for clarity.
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2024-11-03 23:18