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Jaco Van Dormael: “God lives in Brussels’

For Jaco Van Dormaels ‘Le Tout Nouveau Testament” (in addition to Benoît Poelvoorde, and the French icon Catherine Deneuve also Flemish acting) invented the Brussels director of a crazy version of the Bible. “I had a sense something very Belgian.’ The film had its Cannes premiere.

Benoît Poelvoorde in “Le Tou Nouveau Testament’ © gf

Jaco Van Dormael returns to the place where it all began: in 1991, here in Cannes, the Caméra d’or to his debut Toto le héros. And five years later, Daniel Auteuil and Pascal Duquenne jointly awarded for their performances in Van Dormaels second film, Le huitième jour. But in 2009 associated with love: Cannes fit for the magnum opus of the Belgian director, the playful, philosophical science-fiction film Mr. Nobody, and forced week it was off to the festival of Venice.

But look, feature film number four reconciles the resourceful inhabitant of Brussels with the côte d’azur, they do not the actual Festival de Cannes is a place veil for Le Tout Nouveau Testament, but the Quinzaine des Réalisateurs, the independent, parallel festival that in the past have been a springboard for directors such as Werner Herzog, Ken Loach and the Dardenne brothers.

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The Directors obliged to you not to have a tuxedo to wear. That’s good for me because I can’t have more in my smoking from so many years ago.

“I’m very happy with the selection for the Quinzaine,” says Van Dormael on phone. ‘The Directors try to it filmspectrum to broaden. By all the big names that they previously welcomed, it seems they sometimes at the Salon des Refusés, where the impressionists from his offspring.’

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‘The cool thing is also that the Directors” competition. One dares not to the impossible: movies to compare. And a final advantage: the Directors obliged to you not to have a tuxedo to wear. That’s good for me because I can’t have more in my smoking from so many years ago. Festivals are important because they have the spotlight on you movie focus and ensure that your work goes unnoticed. What I really to like it, is that your film immediately to the public. The way I like it. As soon as I put the bottle in the sea either, I do want them found as soon as possible.”

Mr. Nobody, Of Dormaels previous film, was an international production of more than 36 million euro, but despite the impressive scenery, special effects and famous actors as Jared Leto, Sarah Polley and Diane Kruger, he could the public not love it. Le Tout Nouveau Testament is, in any case, the pieces smaller, but compare does the director not like: ‘There are both common as gaps but think I’d rather not think about. I try every time to do something else. Mr. Nobody will always be a separate case will continue. I have four to five years needed for the scenario to work out and as much to get the film made. The outcome is now what she is. But I’m proud of that film.

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God lives in Brussels and is a bastard who hateful to do to his wife and daughter.

In which category Le Tout Nouveau Testament fit, he does not know so well. ‘I’ve tried to create something that’s funny and touching. I had a sense something very Belgian. A surreal fairy tale that takes place in the city where I live: Brussels, with its mix of languages, cultures, accents.’

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The film assumes that God really exists. “He lives in Brussels and is a bastard who hateful to do to his wife and daughter. To avenge themselves places of the daughter the death of all of the not yet dead people on the internet. With all the consequences. To the whole thing again right to withdraw she gets six new apostles, piece by piece, beautiful losers. I have the scenario written together with the literary strong Thomas Gunzig – in my garden, we tried each other to laugh. And much more than in ‘ Toto le héros and Mr. Nobody we work with a voice-over narration.’

Walloon woelwater Benoît Poelvoorde incarnates the clumsy God of the film. “We know each other ‘in the hallway’: ‘Toto le héros and C’est arrivé près de chez vous at the time were at the same time in the same building-mounted. In subsequent years, we came together also, but always after sunset. Poelvoorde is a very generous actor, someone who is no questions asked and always full.’

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And with much emphasis: Le Tout Nouveau Testament is ‘a vriendenfilm’. ‘Cinematographer Christophe Beaucarne is still a student of me. Yolande Moreau (who is the wife of God plays, ed.) and I go twenty years back, we come both from the children’s theatre. With actor Didier De Neck, I share a past as a clown. Even Catherine Deneuve has immediately said yes. Please make sure the large contribution of the Flemish people. Laura Verlinden was a revelation. She plays a beauty who is convinced that none of her can keep up because they have an arm missing. Her game is fragile, her voice is tremendous.’

Also the cooperation with An Pierlé went very smooth. I loved the melodies on her album, and asked her to create music for the film. On the basis of the scenario has them for each character pianomelodieën thought. They worked very fast and came time and time again with just the right music. Call her feel my strong arm.’ (Niels Ruëll)

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Cannes film festival 2015

  • Review Sicario: brooding thriller about the War on Drugs along the border between the US and Mexico
  • Review Dheepan: atmospheric and gripping migrantendrama
  • Review ‘The Assassin’, the master of poetic film opts for action
  • Short film ‘Copain’ presented in Cannes
  • Read all articles about Cannes film Festival 2015

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