It's out in theaters this Wednesday: in "Aux jours qui venir," filmed in Nice, Zita Hanrot fights against a toxic ex
Independence, strength, determination, diversity. In more ways than one, you embody the modern woman in cinema. How do you choose your roles to convey this impression?
It's flattering! I don't consciously seek to cultivate this image. The films I choose resonate with subjects that touch me. For example, in The Night of the 12th about the murder of a young woman, Annie Colère which deals with the right to abortion in the 1970s or A mon seul désir, on the liberation of the body, we address struggles that are still current. It's sad to see that some of these fights remain relevant in many countries. These societal themes reflect my questions. The impression I give off probably comes from there.
"In the Days to Come" directly addresses violence against women. It also addresses their solidarity...
Sisterhood is essential. It legitimizes experiences and breaks isolation. My character, Laura, has escaped her relationship with Joachim, played by Bastien Bouillon, but remains scarred. She suffers from insomnia and lacks confidence. In her reconstruction, she is more advanced than Shirine, played by Alexia Chardard, but will help her progress. Her position is complex. She is not liberated, but reaches out because she feels strong enough. We must respect the fact that not everyone has this capacity. Sometimes we are not ready, sometimes not, and that's human. Strength is born when women declare that this violence is intolerable. Without this unity, we remain alone, in a state of incomprehension.
How do you rebuild after such violence? Did you speak with women who had experienced this to prepare for the role?
This violence, especially psychological, is everywhere. Reconstruction requires acknowledging the suffering. I loved a scene where Laura talks about justice with Shirine. The legal process, even if difficult, is crucial to confirm that such acts are unacceptable.
Laura also has to manage the bond with Joachim, because he remains the father of their child...
She loved him. We see it in the smile she gives him. There was love, desire, shared dreams, and it persists. She lets her child love his father, but gives him the keys to avoid being damaged by this love. Laura condemns Joachim's actions while accepting this emotional bond that she cannot erase. She communicates with her daughter, with clear, intelligent words, to protect her from a failing father. And when she yells at her, she questions her own violence, seeking to break this cycle.
Does being a woman and a committed artist seem essential to you today?
At the beginning of my career, I didn't want to talk too much about my origins or my mixed race. But I realized that speaking out about representation and racism in the audiovisual sector helps young people, especially those I meet at the Conservatoire. They tell me it makes them feel good to see someone take on these issues. It's not the main topic in my life, but now I'm addressing it clearly. In the past, figures like Aïssa Maïga paved the way for me, and I want to do the same for the new generation.
The story
Nice, present day. Thirty-something Laura (Zita Hanrot) is trying to rebuild her life after a tumultuous relationship with Joachim (Bastien Bouillon). She leads a seemingly peaceful life, raising her young daughter alone. But the accident of Shirine (Alexia Chardard), Joachim's new partner, will bring her past back to the surface. The two women, prey to the violence of the same man, will gradually come to support each other...
Our opinion
Having become a must-see, Bastien Bouillon continues to inspire filmmakers, who have recently given him roles as lovers from the past, such as in Partir un jour or Connemara , which will be released in theaters in September.
Between these two roles, the actor, revealed with The Night of the 12th , plays a toxic man, puts his companions under his influence and multiplies the excesses of anger. The particularity of the scenario is to take the point of view of two women: the mother of his child, who found the strength to take a step back, and his current partner, who sees the trap closing on her. Filmed in a dark Nice, far from clichés, Aux jours qui vient addresses the psychological and physical suffering of the victims at different stages of their journey. The approach remains however academic and is lacking in its first half due to a confusing parallel editing and a poorly controlled thriller aspect, which lacks tone.
The performances—especially those of Bastien Bouillon—and the strong message delivered by the director partly compensate for these errors. A useful film, then.
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BY NATHALIE NAJEM (France). With Zita Hanrot, Bastien Bouillon, Alexia Chardard. Drama. 1h40. Our rating: 2/5
In Aux jours qui venir, her first feature film about violence against women, Nathalie Najem makes Nice, where she grew up, a character in its own right. "This city has so much to offer. It hasn't been filmed that much," she explains, seeking to go beyond the touristy image. The diversity of the neighborhoods structures the mise-en-scène in addition to relying on contrasts. Thus, the Promenade des Anglais embodies light and social mixing: "It's a place that brings the whole city together, where very different people meet." In contrast, Saint-Roch serves as the setting for menacing scenes: "This neighborhood, almost deserted in the evening, becomes disturbing." The lively Libération district hosts the daily scenes of Laura, played by Zita Hanrot, while Mont-Boron, with its bourgeois houses, reflects intimate flaws.
Another particularity is the choice to film in winter to heighten the tension: "The southern light, in this season, is soft, comforting, enveloping." This light, captured at sunset, creates an atmosphere that is both beautiful and oppressive. "When Zita Hanrot faced dark scenes with Bastien Bouillon's character, she discovered a Nice she didn't recognize," confides the director, who drew on her intimate knowledge of the Côte d'Azur capital.
Nice Matin
