“We never mourn those we have loved”

Sophie Marceau has gone through several personal trials but returns to the cinema in a sparkling comedy that looks like her

In two roles in the cinema and six months apart, in “Everything went well”, by François Ozon, and “I Love America”, by Lisa Azuelos, Sophie Marceau lost her father and her mother. These fictional mournings undoubtedly echoed those of reality, which were much more cruel. The black series begins in 2016 with the disappearance of filmmaker Andrzej Zulawski, whose existence the actress had shared for seventeen years. Vincent’s father, his eldest son, died on February 17. In December, a month after celebrating her 50th birthday, she lost her 78-year-old mother, Simone.

Read also: Sophie Marceau in 30 covers of Paris Match

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In 2018, she directed “Madame Mills, such a perfect neighbor”, a film which would not find its audience, and above all had to deal with the problems of her son: Vincent faced a major depression, perhaps linked to the loss of father figure, who not only requires care, attention, but also a lot of love and self-sacrifice. Even if cinema has been Sophie Marceau’s life for more than forty years, life then becomes more important than cinema. To take care of her family, she takes a break of more than two years, which had never happened to her. Never mind his star status! She must, above all, be both parent and child. She helps Vincent to get out of his zone of turbulence, and she accompanies his father, Benoît, until the last day of his 85 years of life, October 3, 2020. The anxieties of a mother, the grief of a daughter. This is how we imagine it, because we can no longer count on it to pour out.

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In life, she no longer seeks love, she has found it

Since April 8, 1983 (she was then not yet 17 years old), Sophie Marceau has been on the cover of Paris Match thirty-five times. She told everything there: her doubts, her beliefs, her companions and her children. As she gets older, the jolts and chaos of existence have followed one another, she has less desire to spread out her private sphere, also aspiring to more tranquility. When she created her production company eight years ago, Sophie Marceau called it Juvenile. Time seems to have little effect on its beauty. At 55, the kid Vic from “La boum” still doesn’t look her age, but this time which spares her physically has transformed her into a strong, almost stainless woman, whom nothing seems to reach. Not being named to the Césars for her role in “Everything went well”, where she is impeccable, does not trigger in her either a bitter smile or annoyance. Right-thinking French cinema displays a form of contempt against it? After fifty films, she still doesn’t have the card? She doesn’t give a damn and bursts out laughing: “To tell you the truth, it relieves me not to go, because I hate ceremonies and competitions. I am very happy to have made this film, that is what counts.

Silent for so many months, Sophie Marceau has decided to speak again for the release on the Prime Video platform of the film by Lisa Azuelos, cinema sister with whom she will have shot three feature films. In “I Love America”, she portrays a director who, when her mother disappears, tries to start a new life in Los Angeles and discovers love through a dating site. Could this look like him? Start all over again elsewhere, no, very little for her. “I have lived a lot abroad, including, precisely, in Los Angeles, but also in Poland, near Warsaw, and in England. I’ve explored the world a lot, but I don’t imagine myself as an expatriate or an exile. I don’t have that call from elsewhere. »

“Meetic or Tinder? Can you see me doing that, as Sophie Marceau? Impossible!”

And concerning these famous dating sites, could she have, at one time or another, put her profile on Meetic or Tinder? “Do you see me doing this, as Sophie Marceau? Impossible! Well, what if I hadn’t been who I am? A priori, it’s not something that thrills me, but I don’t judge. There are beings who suffer from loneliness; if it allows them to bond with others, then why not? In real life, the one who, according to her words, has practically never lived alone does not seek love: she has found it. His relationship with an entrepreneur and director of Parisian theaters seems to balance it out like simple happiness. An uncomplicated romance, at last. What better? Her recent romantic past has not been easy and ended up being written in the imperfect.

“I Love America” ​​is a romantic comedy with classic springs that does not revisit the love life of Sophie Marceau. No known actor or pastry chef in this story. The film instead explores the wounds of the director, daughter of singer Marie Laforêt: the loss of the loved one who has mothered you so much… or not mothered at all, in this case. “You leave your mother’s body twice, when you are born and when she dies,” says Lisa, the heroine played by Sophie. Does it speak to him? “Yes of course. Life is death, it is the mother. She is the bearer of messages, she is the one who never deceives you, who seems to me to be the vector of all this. The disappearance of a mother reminds you of the cycle of things. And it’s your turn to come.”

About Simone, the one who gave birth to her, Sophie Marceau also says: “My mother was a real mother, very maternal, very devoted, very welcoming. As soon as a friend was unhappy or ran away, she took refuge with us. A smell of cherry clafoutis, a cloud of Chanel No. 5 in the air are enough to bring back the image of this darling mother. “Those we loved so much are no longer there, that’s how it is,” she confides. But we never mourn.

It helps French craftsmen to penetrate the Chinese market

“I Love America”. The film with its obviously disco soundtrack evokes the 1970s, very free, so light. The title is that of a tube by Patrick Juvet who also sang “Where are the women / Who have laughter full of tears? “. There is an astonishing reference to the #MeToo movement in this funny comedy. “In the seventies, ‘me too’ meant ‘I agree’. “Today, not at all. This change of time, of mentality, awakens in Sophie Marceau an exacerbated feminist feeling, a form of gravity: “The #MeToo movement is historic. It shakes a lot, sometimes violent or clumsy, but it feels so good! I consider violence against women throughout the ages to be the greatest genocide in the history of humanity. I carry that in my genes, less than my mother and my grandmother, but I carry it. That our words can finally be expressed, what a liberation! All this suffering is enough!” She also expresses herself on this double role, woman and mother, which can prevent again and again: “Often, during my professional existence, I had to decide and say that I had to return to take care of my children, that I did not, unlike a man, have my wife at home who would take care of them.”

The years passed; the children that Sophie Marceau has protected from almost everything are young adults. To define her character, the actress says, “She’s going to have to learn to think about herself rather than worrying about other people. In short, she is full of curiosity and desires…” How can you not guess that this resonates with her life, even if it is not hers? Vincent, 26, has become independent. Juliette, 19, is studying abroad. They seem to have, for the moment, left the nest. The passage is sometimes difficult for parents to digest.

Stop the cinema, she thinks about it and then forgets, does not forbid herself anything, lets fate do its thing, takes what comes

She agrees: “I ask myself questions, like everyone else, about having founded, as a mother, a family for twenty years, almost thirty, and finding myself facing the last part of my life. You have to give up, break with your habits. There is a lot of work to do.” But it also opens up perspectives. Two years ago, she fell in love with a project that was more economical than artistic. She has become a shareholder and honorary ambassador of a platform called MaFrance, which helps craftsmen and small French companies to penetrate the Chinese market via the Internet. She helps promote our know-how and our art of living in China, where she has been going twice a year for more than two decades – and where she is a beloved star. “It’s work, overtime,” she says, visibly proud of this work provided.

And when you ask her if she feels like a business woman, she replies with a smile, that smile that puts you at a distance, that all the women who manage work and family are a bit. The one who has remained the favorite personality of the French, despite her desired erasure from the media landscape, the one who often does as she pleases, could she change her life, surprise? Stopping the cinema, she thinks about it and then forgets, does not forbid herself anything, lets fate do its thing, takes what comes. As a form of reconstruction. Today, Sophie Marceau breathes, breathes again. There is only one thing of which she is almost sure and which carries her definitively: “After 50 years, one can understand the errors of the past, where one is. And then, anything is possible.”

Source- https://www.parismatch.com/People/Sophie-Marceau-On-ne-fait-jamais-le-deuil-de-ceux-que-l-on-a-aimes-1796611