Filmmaker of Sundance’s ‘Sukkwan Island,’ Vladimir de Fontenay, on Adapting ‘Legend of a Suicide’ Into a Psychological Thriller: ‘It’s a Tragedy, But One About Resilience’

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Filming “Sukkwan Island,” a gripping psychological thriller premiering at Sundance, was an extraordinary journey for its French director, Vladimir de Fontenay, and all involved in this international production. This experience echoed the transformative ordeal undergone by the film’s characters.

In the chilling tale “Sukkwan Island,” based on David Vann’s gripping “Legend of a Suicide,” we follow 13-year-old Roy (Swann Arlaud, known for “Anatomy of a Fall”) as he embarks on a year-long adventure with his distant father, Tom (Woody Norman, recognized from “C’Mon, C’Mon”). This adventure takes place in the cold and unforgiving Norwegian fjords. As they struggle against the relentless Arctic conditions, their journey becomes a battle for survival that exposes their deepest emotional struggles.

In 2017, De Fontenay’s first feature film “Mobile Homes,” starring Imogen Poots and Callum Turner, was followed by his highly personal project, “Sukkwan Island.” This film was a long-cherished dream of de Fontenay, who had persistently pursued the rights to the novel for years after his father gifted it to him. A serendipitous event occurred when he was unexpectedly contacted by Carole Scotta and Caroline Benjo, renowned French producers known for “The Class” and “The Night of the 12th.” They had acquired the rights to “Legend of a Suicide” and believed de Fontenay would be an ideal director for the big-screen adaptation.

Upon sharing with Vladimir that we had obtained the rights to the book and were seeking a director, he appeared shocked and exclaimed, ‘That can’t be true!’ De Fontenay, on the other hand, assumed it was a joke since he had been unsuccessful for years in trying to purchase those books.

Scotta stated that when Caroline and I read the book, it resonated with us strongly, but we felt it was too violent to make an adaptation. However, he believed that Vladimir’s approach to adapting the story, his creative direction, and the actors he would select could bring a sense of light and humanity to the film, even though it would be a tragic production.

Vann authored “Legend of a Suicide” as a means to cope with the sorrow and remorse he experienced as a young man, following his father’s suicide after Vann declined to join him in the wilderness for an entire year. This semi-autobiographical novel explores the fictional character Roy embarking on that fateful journey with his father and ultimately taking his own life.

The director expresses, “The idea of redemption for David Vann is truly captivating in this book, as he ponders: ‘What if I hadn’t gone?’ We felt the same way. This story carries a profoundly humanist message that resonated with us deeply. It’s a sad tale, but one that speaks powerfully about resilience,” he adds.

As a movie enthusiast, I found myself captivated by “Sukkwan Island.” In this intriguing production, the creators, including De Fontenay and his team, Scotta and Benjo, chose a unique narrative path. They transformed the character of Roy, now an adult, into a traveler journeying to a secluded cabin – a location that held tragic memories for him, as it was where his father took his life. The movie seamlessly moves between the present and an imagined past.

In their adaptation, the author decided to have the character embark on a symbolic journey back to the remote cabin, a place linked to past traumas that isn’t mentioned in the original book. De Fontenay explains this choice, stating that the ‘mise en abyme’ structure was crucial for creating an ending that offered a sense of emotional resolution, rather than what was presented in the novel. According to Scotta, this alteration facilitated a form of metaphysical reconciliation between Roy and his father.

The film’s success hinges significantly on its casting, as the father-son duo, portrayed by Arlaud (as Tom) and an unnamed actor, appear almost throughout “Sukkwan Island.” De Fontenay noted that he found it necessary to make Tom’s character more tender and developed because Arlaud imbues the role with depth and vulnerability. Additionally, Norman, whom de Fontenay discovered in Mike Mills’s “C’Mon, C’Mon,” delivers a captivating and multidimensional performance that de Fontenay believes would only be possible with an experienced actor like Norman.

In essence, “Sukkwan Island” carries a universal theme according to de Fontenay, implying that no matter where we start – whether as a son, father, mother, or any perspective – it seems to touch on the essence of family ties in general. These bonds continue to transform throughout life, much like they do in the movie, and we are perpetually contemplating their true nature.

De Fontenay explains that the story of “Sukkwan Island” is universal in its appeal, regardless of whether we approach it as a son, a father, a mother, or from any other angle. It seems to delve into the heart of family relationships and their evolution throughout life, just as they do in the film. We are constantly questioning the essence of these bonds.

Sukkwan Island,” a movie produced by MK2 Films on behalf of an international collaboration known as “The Creatives” – a group consisting of ten independent production companies, is making its debut. This film is brought to you by Haut et Court’s Scotta, Eliot Khayat (“Santosh”) and Caroline Benjo, with co-production from Synnøve Hørsdal and Petter Onstad Løkke at Maipo Film, Jacques-Henri Bronckart at Versus Production, Tatjana Kozar, Mike Goodridge’s Good Chaos, and Sydney Oberfeld.

The extensive roster of film producers on “Sukkwan Island” demonstrates the financial challenges faced during production, according to Scotta. Initially, considering the book’s setting in Alaska, Scotta considered filming in Canada due to its co-production agreement with France. However, the costs proved prohibitive and had to be abandoned.

At some stage, Scotta mentioned that the film should feel more European. He envisioned creating a genuine movie set in the remote Norwegian fjords, mirroring the untamed beauty of Alaska. Suddenly, this concept became the backbone of the production, with a diverse European team (comprising production designer Eva Martin, editor Nicolas Chaudeurge, and makeup artist Saara Räisänen) and cast, led by Arlaud and Norman, as well as Alma Pöysti from Aki Kaurismäki’s award-winning ‘Fallen Leaves,’ Ruaridh Mollica from ‘Witness Number 3,’ and Tuppence Middleton from ‘His Dark Materials.’

The challenge in funding the movie arose because it was filmed in English, making it ineligible for French financial assistance due to this language requirement.

She notes that when working within a commercially-focused genre with numerous actors, English can be advantageous as it allows for raising substantial funds. However, if one is creating work similar to Vladimir’s in the English language, international funding isn’t necessarily increased and no French financing is obtained. The film did secure some financial support from Brittany, where de Fontenay edited, but French television declined interest because they seldom invest in films made in English, unless it’s an Almodovar or Ken Loach production.

Despite these challenges, Scotta asserted, “There was no doubt that it needed to be done in English,” and further explained that “Woody Norman was chosen for the role prior to Swann Arlaud.

Today, everyone associated with the filming process shares an indelible memory from our shared adventure filming over two seasons in the Norwegian wilderness. We endured a military camp, battled temperatures as low as -20 degrees Celsius, faced relentless winds, long winter nights, and then prolonged days in June. Yet, we were also graced by visits of crows, reindeer, and even a bear on set.

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The memories from our two-season filming journey in the Norwegian wilderness are etched deeply into everyone involved in production. We lived together in a military camp, braved temperatures that dropped to -20 degrees Celsius, fought against harsh winds, and experienced both the endless winter nights and the seemingly endless days of June. Despite the challenges, we were occasionally joined by crows, reindeer, and even a bear on set.

OR

The experiences we had during our two-season filming stint in the Norwegian wilderness have left an indelible mark on everyone involved. We spent our days at a military camp, battled subzero temperatures, wrestled with strong winds, and faced the long winter nights as well as the seemingly endless summer days. Despite the challenges, we were fortunate enough to share our space with crows, reindeer, and even a bear.

The movie starts in June and concludes during wintertime, yet the production process had to occur backward due to logistical complications. De Fontenay expressed that filming “Sukkwan Island” in reverse and spanning over two seasons was an unforgettable and wondrous experience for him.

The filmmaker describes returning to a location once blanketed in ice and snow, where tough scenes were filmed, only to find it transformed several months later with the ice thawing, the lake melting, and the father and son starting to reenact the movie’s opening. He found it quite enchanting. Upon reuniting with the team after facing numerous challenges, he expressed great joy. It was a poignant moment of shared life experience and camaraderie for everyone involved.

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2025-01-25 00:17