Robin Campillo on Losing Friend Laurent Cantet and Finishing His Coming of Age Drama ‘Enzo’: ‘It Was About Joyfully Continuing What He Started’

by

Above all, Laurent Cantet and Robin Campillo were friends.

Since their college days, the pair quickly established a strong creative alliance – collaborating on film scripts where Cantet took the director’s role and Campillo handled the editing. As Cantet’s health started deteriorating, they had already been immersed in the development of “Enzo.

This year’s opening film at Directors’ Fortnight, shown by Campillo, started as a personal endeavor for Cantet. In this project, he aimed to delve into themes of class and sexual fluidity through the narrative of a wealthy young man choosing to step away from his societal position.

For many years, Cantet pondered over his project, but it wasn’t until he fully committed to it, despite his ongoing battle with cancer, that he made his decision. By the sad month of April 2024 when the Palme d’Or winner unfortunately passed away, the film was on the brink of being produced, boasting a cast primarily consisting of actors making their debuts, who had already been selected for the roles.

Campillo expressed that losing Laurent was like losing a parent,” he shared, having previously intended to play a more significant part in supporting Cantet during filming. “We were all deeply affected. However, I decided the worst course of action would be to halt production. I’m not a believer in superstition – this wasn’t about solemnly carrying on Laurent’s legacy. It was about enthusiastically continuing what he had initiated.

Additionally, I was on antidepressants at the time,” he mentioned. “It was an unusual period, yet that oddity seeped into the movie. It aided the performers Laurent selected, and it unearthed something exceptionally potent.

In their conception, the main character, portrayed by debutant Eloy Pohu, is a mysterious and taciturn individual. He defies societal norms by choosing silence and seclusion, thereby avoiding conformity and slipping between social gaps as a form of protest. The narrative’s depth is deepened even more by the intricate emotional bond that develops between him (Pohu) and another newcomer Maksym Slivinskyi, who plays a Ukrainian army reservist, which delves into the exploration of personal identity.

Campillo clarifies that we aren’t dealing with a typical ‘coming-out’ narrative here. Instead, Enzo yearns to confront reality, and his attraction towards the soldier transforms into a form of political dedication – a means to align himself with an ideal.

The blend of desire and idealism made “Enzo” an exceptionally suitable conclusion to a prolonged partnership.

Laurent approached things straightforwardly when it came to presenting reality to the audience, whereas I prefer to emphasize internal conflict,” Campillo explains. “This contrast was instrumental in fostering our powerful collaboration.”

Or:

“Where Laurent tackled confronting the audience with reality head-on, my approach leans towards highlighting internal struggles,” Campillo notes. “Our differing styles were key to building such a strong working relationship.

Campillo stated that he created this movie for a friend, which made the process less stressful compared to directing something entirely personal. If Laurent was present, they likely would’ve continuously revised the script during production. However, I believe the final product closely resembles what they would have made collaboratively. I don’t want it to come across as a tribute; rather, a new film by Laurent Cantet – that would be the most fitting tribute.

Read More

2025-05-14 09:31