Kristen Stewart on your favorite French movies in Deauville MasterClass

Kristen Stewart Drew is a packed house of the Festival, Town and Fan in France Deauville Film Festival for its MasterClass called MI Frockine and organized with Chanel. For the occasion, Stewart is a list of his all the time of his favorite French films and honestly discussed why they inspired her as actors and filmmakers.

Range from various era and styles, movies selected in common, from “Lift Malle” (1958) to Alain Renais “Hiroshima Mon Amour” (1959), Catherine Breillat’s “A Real Young Girl” (1976), Leos Karak “(1991), Krzisztof Kieslovski’s “Double Life Veronikue” (1991) and Michael Hanece “Lesson piano” (2001).

In her typical unfiltered, marital and self-easy mode, Stewart laughed at the audience as she admitted to actually fighting to watch whole movies.

“Sounds fucking absurdly comes from me,” Stewart said, “Considering that what I want to do with the rest of my life. But I have to go to the seat to keep my whole movie.”

And although he is able to talk in granular details about the films they marked and also served at the Cannes juristic (2018) and Berlin (2024), she “would not say that there was a filmmaker that (she can tell you all about this person.”

The first film he spoke during Deauvile Masterclass was a “true young girl”, a film that turned sexual awakening of a 14-year-old girl, wrote and directed Breillat, which is known as a subversive French filmmaker.

Stewart said that she soon watched Breillat’s film before she started filming his director’s debut “Water chronology“Memoara’s adaptation of the same name of Lidia Iuknavitch in which Imogogen read as a woman who appears from abuse and channel her trauma into competitive swimming, sexual research and dependence, before it ended her voice as a writer.

The director of the actor, who was chanted by her film in Cannes, Povslji to watch the Breillat’s film “real young girl,” he was very deeply because he was (her film “later and made it.”

She said she hit Breillat’s film, because “she just didn’t get used to see the stories about the old age, which was also celebrated” and she felt that the film was “internal experience”.

“You Watch It And You’re Like, ‘Oh, It’s Straightforward. She’s going home, and she’s going home, but then she sticks a spoon inside of herself beneath the table. And you’re like,” Stewart Said, Also Drawing a Parallel with “The Chronology of Water” in which There is a scene where Poots “is reaching deep inside of herself and pulling out and viscous and scened representation of what she is and delicious him and self-devouring.”

“When you are a child and discover yourself in all sopts, stinking, disgusting ways you work, so easy to be uncomfortable (…) and I guess it’s just very rarely in the movie that someone sees that someone used it.”

Stewart also spoke about the “piano teacher”, “Haneca’s cult of the piano with pushing-moving gentlemens who moved in Sadomazohist’s relationship with her much younger student won Huppert the best prize of the actress.

“It’s just one of my favorite movies of all time,” Stewart said, before he added that it was “one of my favorite performance,” referred to Huppert. She explained that she fascinated the unique and ambivalent psyche Huppert on the Huppert screen, Erika, because “she has no respect for anyone. It is so isolated by its genius and its intelligence and so completely locked in this body self-sacred.”

But at the same time, Stewart claims that “she is not unhappy,” even if it is not necessarily true, there is something that is as constructed, if it is constructed, it actually worked a pretty good job. There is something that is something that is in terms of the way she has something about it. There is something that wants what he wants. ”

“The piano teacher” adjusted Hanecs from the novel of the Austrian Writer Elfriedo Jelinek.

“I think it’s one of the strongest adaptations I’ve ever had pleasure and watch and watch,” Stewart said. “It was very similar to” once flew at the cuckoo’s nest “, because in literary form, internal experience in literary form was performed in the literary form.”

“It’s a first person’s perspective book, and she is constantly called about what she thinks in all these environments,” Stewart said.

Kieslovski is “Double Life Veronique” also forced Stewart because “It’s sharply sharp in terms of how you feel it.” The film says two parallel stories about two identical women; One lives in Poland, and the other in France. Irene Jacob, which plays both roles, won the best actress in Cannes for the film. Stewart was joking that “she almost fell (her) chair when (Jacob’s screen on screen) Singes death.”

“Like you can enter inner life and make a movie that is hyper specific about internal feeling and doesn’t have to explain that,” Stewart said. Kieslovski “image by light and first person perspective. It is able to achieve it without strange in such penetration and daring ways.”

The film also made to think of itself. “Sometimes you become sad that you are incomplete or so, and you killed this old version of yourself. But they still live in you,” she said.

Meanwhile, lovers on the bridge “, meanwhile, is another favorite movie Stewart, because she looks like a” very strange film movie “.

“He is closed. He is afraid that he can see him all the way. She is so exhausted that the game is in this waltz.” It’s ultimately, she jumps out. “Like you can’t control things you love. I’m so sorry but if so, you wouldn’t want that. ”

The bridge is a great metaphor for not only deviating and destroying, “she says.” You live in a world with lots of other people and a lot of beauty that can distract you from a huge passion that exists in this small microcosm between you two. But you can’t live on the bridge forever. “

While in Deauville, Stewart also attended the bright dinner that was hosted by Chanel and Canal +, two main sponsors of the Festival, next to her friend Charles Gillibert, which produced “water chronology” and the raft of French and American stars. Bash followed special screening “Nouvelle Vague” Nouvelle Vague “who supported Chanel.

Deauville Film Festival, headed by Aude Hesbert from 2024. years, he wrapped on Sunday and gave his Grand Award for “Plague”, “ Debutant debut in Charlie Polinger Joel Edgerton.