In the footsteps of Laetitia Dosch 

Actress Laetitia Dosch makes an appointment with Karine Vasarino for a night stroll in Lausanne. The Franco-Swiss actress lived in the Vaudois capital between 2003 and 2008.

Sur les pas d’une actrice aux multiples facettes. Sur scène, elle propose des spectacles qui expérimentent les limites. Chauffeuse de salle, animale, elle tourne actuellement avec “Hate”, pièce dans laquelle elle joue nue avec un cheval.Personnalité atypique, l’étiquette de dingue de service lui a longtemps collé à la peau. Mais depuis sa nomination aux César pour son rôle dans “Jeune femme” (Caméra d’or à Cannes en 2017), Laetitia Dosch découvre le côté paillettes et glamour de son métier.Elle sera prochainement dans “Nos batailles” avec Romain Duris. Mais la belle rousse qui se trouvait moche à l’adolescence ne se considère pas comme une star.Laetitia Dosch donne rendez-vous à Karine Vasarino pour une balade nocturne à Lausanne. L’actrice franco-suisse a vécu dans la capitale vaudoise entre 2003 et 2008.

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Laetitia Dosch : la belle et la bête

It may be a story of skin, porous membrane between oneself and the world. The skin that Laetitia Dosch has diaphanous, like most redheads, but that’s not the reason why this delicate, almost transparent envelope seems to work as a sensor. Rather a matter of sensitivity, obviously. On this evening of June, the young woman vibrates with all her being , under the big pines of the Domaine d’O, in Montpellier, at the exit of the representation of Hate  : a creation of which she signs the text and the staging, in which she plays, and which, after Lausanne and Montpellier, arrives at Nanterre, where it is not necessary to miss it .

The show is in his image: a total singularity. The beautiful, out of a painting Botticelli, plays, skin against leather, with the beast. In this case a horse named Corazon (“heart”, in Spanish), with a gray trout dress. They are both naked, which is more noticeable at home than at home. It would seem that Laetitia Dosch does not do anything like another, from the beginning.

“I’ve always been the weird of the family,” she says. Its heterogeneous environment and Catholic ultratraditionnel 8 th arrondissement of Paris. “At the same time, my family was strange, in its way, we lived with my grandparents, uncles and aunts, and in the middle of animals, alive or dead. At home there were two parallel worlds: the adult ones, and the animals and me. But it’s good that I have fallen in the ” cathos ” , like that, I could not reproduce any scheme, “she says with this light humor, falsely naive, which characterizes it.

Squeaky Spirit

It is indeed in her private Catholic high school, however, that she discovers the theater, which saves her from a lonely and mute adolescence. And it is in the theater that she plunges, with lost body, she who appears today as one of the muses of the young French auteur cinema. With an eclecticism, a curiosity, an originality that make him make the difference between very different forms, which nevertheless still marks his identity.

She played Shakespeare alongside Eric Ruf, the boss of the Comédie-Française, or under the direction of the director Mélanie Leray, while ferreting into the much more experimental and performative world of choreographers Marco Berrettini and La Ribot. And she wrote her first show, Laetitia makes a fart … , parody of stand-up, where she plays a humorist a little weak, who makes jokes about the old, the Jews and the Blacks. Laetitia Dosch does not mind having a squeaky mind. [ . . . ]

Why you need to watch ‘Jeune Femme’: the brilliant French film redefining female stereotypes

Jeune femme’ subverts conventions with its flawed title character

A millennial malaise has swept popular culture, as less refined protagonists are taking centre-stage. New York has Obvious Child; London has Fleabag; and now Paris has Jeune femme. In her debut feature film, Léonor Serraille set out to “invent a female character we don’t see in French cinema; someone who isn’t too perfect, too heroic”.

Her lively script draws on her experiences in Montparnasse as a young adult, a period defined by urban loneliness. Broken after the demise of her 10-year romance, Paula (Laetitia Dosch) pieces herself back together by mending damaged relationships and forging new ones. From the outset, Jeune femme grapples with the struggles of Generation Y, showing Paula’s desperation when she head-butts her ex-boyfriend’s door and spews a furious monologue to camera.

“Léonor wanted the audience to feel really bored by this woman at the beginning,” says Dosch in her French-tipped English. “Will she shut up? Will she calm down? And then get used to her and discover her and get over our prejudices. What is beautiful about this film is that she could really become homeless, she could really become crazy, but she climbs back, little by little.”

The comedy was rapturously received at the 2017 Cannes Film Festival, where it won the Caméra d’Or (the equivalent of the Palme d’Or for the first-time film-maker). “We were so lucky that it happened because it changed the destiny of Jeune femme,” says Dosch. “The awards are on TV so people wanted to see the film after that. We were gasping next to Joaquin Phoenix onstage and Will Smith was there saying hello. That was very weird. Completely crazy.”

Dosch – who is known in France for her 80-character one-woman show – was recognised for her explosive performance as Paula at the Césars (akin to the Oscars), where she was nominated for Best New Actress. How did she prepare for this career-changing role? “For me it was like having a freer little sister. I walked down the street in character, talking to myself, to see how people looked at me as a misfit. I loved doing that. Paula’s situation is very typical of her time.”

This timeliness is also apparent in Jeune femme’s presentation of sexual consent. In one scene, Paula disarms a stranger who complains he “doesn’t like sleeping alone” with the deadpan quip: “Me neither, maybe you should get a teddy bear?” Later on, the narrative takes a more sinister turn when she scrambles to escape from her former partner who, ignoring her cries, prises off her clothes. The voyeurism of the top shot makes for uncomfortable viewing, encouraging empathy towards Paula. Serraille’s evaluation of this theme chimes with Hollywood’s #MeToo movement.

Despite its near-unanimous support in the Anglophone world, Time’s Up has been viewed with more suspicion in France – even though its home-grown stars Léa Seydoux, Florence Darel and Judith Godrèche have all accused Harvey Weinstein of sexual misconduct. In January, 100 Frenchwomen penned an open letter for Le Monde, condemning the way #MeToo has “prevented men from practising their profession as punishment, when the only thing they did wrong was touch a knee, try to steal a kiss or speak about ‘intimate’ things at a work dinner”. The missive also criticises the country’s #BalanceTonPorc hashtag (translated as #OutYourPig) for expressing “an enthusiasm for sending pigs to the slaughter”. Laetitia Dosch is hesitant to come down strongly on either side of the argument. “You have women saying, ‘We can’t treat men this way!’ because now they’re getting scared of us,” she says, carefully. “I can understand their points. It’s time to think and not get too impulsive because these are complicated questions and it’s difficult to make law about this.”

It’s not just #MeToo that has divided the French film industry, the community was similarly polarised by Jeune femme upon its releaseDosch admits to being “deeply upset” by negative reviews on the French radio programme Le Masque et la Plume (The Mask and the Pen), where the male critics lambasted her character’s “selfishness” and “poor childcare skills”.

“Characters are too formulaic in France,” she claps back. “They’re definitely very prim and proper. Either you’re a little crazy, or you’re sweet and vulnerable, or you’re a very serious lawyer. I think we have a big fight ahead for women characters in art. There is a tendency to oversimplify their behaviour, but I do hope things are evolving.”

Such resistance to change is hardly surprising: French culture actively seeks to preserve tradition. The news that Cannes banned Netflix films from competition at next month’s festival – since they are not distributed theatrically – stunned American film journalists. But this decision is much less shocking when considering that France has had an institution to legislate against linguistic change since 1635. By being unapologetically of-the-moment, Jeune femme has paved the way for more unsympathetic heroines in cinema.

Source: Why you need to watch ‘Jeune Femme’: the brilliant French film redefining female stereotypes

Meet the French film star being compared to Greta Gerwig and Winona Ryder

Laetitia Dosch
We meet Laetitia Dosch, the dazzling star of new movie Jeune femme

When we meet her, Paula’s got nothing, just a bag of clothes and a former lover’s cat. Paris is supposed to be romantic, but not in Jeune femme. Fresh from a breakup, the titular “young girl” finds herself jobless, homeless, and broke in an overpriced city. Not for long, admittedly. Paula, as played by Laetitia Dosch, is an impulsive trainwreck, the kind of overgrown child who’ll talk her way in and out of trouble within the same breath. Then as the escapades escalate, you start to wonder: am I appalled, impressed, or concerned with how much this all resonates?

The directorial debut of Léonor Serraille, Jeune femme scooped up the Camera d’Or at last year’s Cannes Film Festival, spotlighting a protagonist who survives poverty through sheer improvisation. By twisting the truth, Paula swiftly lands employment as a lingerie salesperson and part-time nanny. Mistaken by a stranger for a long-lost friend, the 31-year-old chancer plays along – and scores free accommodation as a reward. Later on, she admits, “I’m nostalgic for things I haven’t done yet.” In that sense, Jeune femmeshares parallels with Frances Ha – you know, if Frances Ha was French, downbeat, and concerned about hidden homelessness.

“It’s weird to talk about Jeune femme here,” Dosch concedes as we sit down in Knightsbridge’s Bulgari Hotel. “The film has certain moral values. It’s about the situation in Paris, about loneliness, about not having money. And to talk about it in a beautiful hotel is weird.”

Dosch has been in London for over a month now. She’s leading a stage production of The Malady of Death, and is considering a permanent switch. “Paris depresses me,” she sighs. “If you want to live there, you have to be selfish, or else you’re hurt every 10 seconds. Léonor wanted to show the disillusion and beauty of it. Paris is full of dreams, but it’s a harsh city.” She adds, “It was snowing there a few weeks ago. It was so cold. There are immigrants in tents, hundreds of them. Then the police came and took the tents away. It’s terrible.”

“Paris depresses me. If you want to live there, you have to be selfish, or else you’re hurt every 10 seconds” – Laetitia Dosch

On her CV, Dosch boasts an extensive filmography, including collaborations with Catherine Corsini and Justine Triet. However, Serraille made her casting decision after a Google search conjured up an inexplicably wide variety of images. “Léonor thought I couldn’t really be described physically,” Dosch explains. “Sometimes I was beautiful, sometimes not. Sometimes I looked fat, sometimes too slim. She didn’t know who I was.” Is that a compliment? “The first time, it’s a compliment,” she laughs. “If it happens all the time…”

The pair not only watched Mike Leigh’s Naked in preparation, they even emulated the director’s rehearsal methods. “We talked a lot. We improvised. We took the time to know each other and build the character. We built a vision of a woman we wanted to see onscreen now. This film is an answer to what’s happening in French cinema: the way women are treated, the way they’re always being sweet, always asking stupid things.”

I admittedly went into Jeune femme expecting something like Cédric Klapisch’s 1996 comedy When the Cat’s Away, another Parisian tale about a young woman’s feline-related antics. But Jeune femme, a film with considerably more bite and anger, delves into subjects such as mental health, sexual violence and abortion. So, really, such comparisons are unhelpful. Still, as I do in my daily life, I bring up Frances Ha. I mention that the journalist who spoke to Dosch before me wrote in his review that she’s “France’s answer to Greta Gerwig”.

“He did?” she says. “Well, it’s a good comparison. But actually, we were afraid of Paula looking too much like Frances, too much like a wacky girl. We thought Paula should be somewhere between Frances Ha and Sue Lost in Manhattan. She’s having to deal with keeping her child or not, finding a job, concrete things.”

Serraille has instead cited Winona Ryder, not Gerwig, as an inspiration for Paula. Dosch mulls it over. “I understand it. Paula was a muse, and she isn’t anymore. She has the same rage as Winona Ryder in Black Swan.” She then jokes, “And Winona Ryder also used to steal things, like Paula.”

“I understand it. Paula was a muse, and she isn’t anymore. She has the same rage as Winona Ryder in Black Swan” – Laetitia Dosch

Paula’s major theft, though, is her ex-boyfriend’s cat, an act borne out of spite. The creature, it turns out, is actually a minor celebrity. “He’s very popular in gay calendars! I love the cat. We tried to make a poster together, but it didn’t like the situation.” How come? “I don’t know. Because I was naked? Maybe it didn’t like my smell.”

To get over her ex, Paula has a sort-of fling with Ousmane, a security guard played by Souleymane Seye Ndiaye. “It was important that we show a character who is black,” Dosch says. “In France, there are a lot, but in French films they’re always white and 50 years old. He has a daughter. He’s a supermarket worker who used to be a lawyer. He’s complex.”

Even though Paula’s differently coloured eyes are achieved through lenses (“I’m sorry, it’s fake”), Dosch evidently shares a few of her character’s traits. Paula’s makeshift Amy Winehouse hairdo is a party trick Dosch executes in real life, and as a freelancer the actor identifies with the unpredictability of bouncing from job to job. In turn, Parisians are suddenly recognising her on the Métro. “People are like, ‘Ah, you’re Paula!’ They talk about their stories. They see Paula. They don’t see me.”

jeune_femme_5

 

Paula’s boss declares that women “cut to the chase” and thus make better co-workers. A glance through the credits reveals that Jeune femme has a nearly all-female crew. “It’s just a different relationship,” Dosch says. “With very strong women, you feel strong around them. Right now, I’m working with Katie Mitchell, a big stage director, and Alice Birch, who wrote the play. I like that continuity.”

A recent performance of The Malady of Death was attended by two of Dosch’s heroes, Charlotte Rampling and Isabelle Huppert. “They’re very strong, independent women. What I admire most is the way they work. They love their job, and they’re very singular. It’s hard to be an actress. You see yourself on the big screen. You’re confronted with what kind of woman people want you to be, or what you want to be. It’s a sociological experience inside of you.”

“It’s hard to be an actress. You see yourself on the big screen. You’re confronted with what kind of woman people want you to be” – Laetitia Dosch

Now that Jeune femme has made Dosch, if not a household name, then at least a Métro name, she has a list of dream directors that includes Hong Sang-soo, James Gray, Jacques Audiard and Miguel Gomes. “If I could work with Mike Leigh for six months, and the rest of it doing nothing but meeting people, that would be a dream. I love the relationship people have here with acting. I don’t like the way they treat the job in France. They like personalities. In France, if you’re an actor, sometimes there’s no work behind it. They think it’s your nature, and they put you on the screen.”

The diligent preparation for Jeune femme evidently pays off with the three-dimensionality of Paula. We believe every curse word, every tiny gesture, and even how she clings to a bannister to avoid being kicked out of temporary accommodation. So does Dosch, like Paula, ever feel nostalgic for things she hasn’t done yet?

“I’m always like that,” she says. “It’s what Paula learns during the film. She’s listening to her desire, and that’s why it’s full of hope for me, that sentence. It’s important for women to find what they desire. It’s a lot of work. There are limits. When they want to say no, they can say no. It takes time sometimes to know what you want, and to be proud of it.”

Source: Meet the French film star being compared to Greta Gerwig and Winona Ryder | Dazed