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Virginie Efira, the captivating lead in Paul Verhoeven’s audacious historical drama "Benedetta," a film that ignited fervent debate and sparked protests across several nations for its unflinching portrayal of a forbidden lesbian affair between nuns, remains remarkably unfazed by the controversy. Currently honored at the Locarno Film Festival with the prestigious Leopard Club Award, Efira shared her candid reflections on the film’s reception, her artistic philosophy, and her evolving perspective on the filmmaking process.
"Was it fun? Yes. I liked that," Efira declared with a characteristic blend of amusement and conviction when discussing the uproar surrounding "Benedetta." She elaborated on the cultural nuances that shaped the film’s reception, observing, "In France, it’s as if God is dead. In the US, well, he’s less dead." This observation underscores a perceived shift in societal attitudes towards religious and sexual themes in cinema, with France exhibiting a more secularized and perhaps more critical lens, while the United States, despite its own moral complexities, appears to retain a more pronounced engagement with religious discourse.
Efira then drew a fascinating parallel to the past, harkening back to a time when cinematic provocations elicited a more visceral and openly confrontational response from audiences. "In the past, people would get so angry about films. They would fight over Maurice Pialat!" she exclaimed, referencing the famously challenging French filmmaker whose Palme d’Or win for "Under the Sun of Satan" at the Cannes Film Festival in 1987 was met with a chorus of boos from the very audience that had just awarded him. This anecdote serves as a poignant reminder of a bygone era of cinematic engagement, where critical dissent was vocally expressed, and audiences actively participated in the discourse surrounding art.
"Now, everyone is so polite. They clap for 15 minutes, even if they don’t like the film," Efira observed, a hint of wistfulness in her voice. This sentiment speaks to a broader trend in contemporary film festivals and premieres, where a culture of polite applause and extended standing ovations often masks underlying critical reservations. "I’m not expecting everyone to love my films and ‘Benedetta’ was very divisive. So many people love it, and so many don’t understand it at all. You could actually sense that in Cannes. At one point, Paul asked me: ‘Do you think it’s going to be O.K?’" The director’s apprehension, a rare moment of doubt from the seasoned filmmaker, further highlights the film’s polarizing nature.
Despite the palpable tension and the potential for backlash, Efira remained steadfast in her conviction. "I believe in what I love. I didn’t see it as a risky move, because I just don’t think like that," she asserted, underscoring her unwavering commitment to her artistic choices. "Paul is someone I wanted to follow. I’m proud of this movie and I put a part of myself into it." Her dedication to Verhoeven’s vision is rooted in a deep respect for his distinctive cinematic language and his willingness to explore controversial subjects with an unblinking gaze.
Efira’s appreciation for Verhoeven extends beyond "Benedetta." She expressed a particular fascination with the director’s earlier, often misunderstood works, citing "Showgirls" as an example of a film that has since been re-evaluated by critics. "I was actually intrigued that the Americans didn’t want to work with Paul anymore," she admitted, referencing the initial backlash "Showgirls" received. "I like his films – ‘Showgirls’ is an incredible movie. I know that all the critics have now come around and consider it a masterpiece, and maybe that has influenced me as well. But I also know my own taste, and when he told me there would be lesbian sex scenes, I just replied: ‘No problem.’ I trusted him." This forthright acceptance of challenging material, particularly the explicit depiction of same-sex intimacy, positions Efira as a progressive and fearless performer, unafraid to push boundaries and challenge societal norms.
Her trust in Verhoeven is mirrored by her profound admiration for Ryūsuke Hamaguchi, the acclaimed Japanese director. Efira’s collaboration with Hamaguchi on his recent film, "All of a Sudden," earned her critical accolades, including an award at Cannes alongside co-star Tao Okamoto. She played a newly appointed director at a nursing home who forms a connection with a terminally ill Japanese artist, a role that demanded significant preparation. "When I met him for the first time, he asked me a lot about ‘Benedetta.’ He’s a cinephile, but it was also because he was curious as to why I wasn’t afraid to do something like that," Efira recounted. This exchange reveals Hamaguchi’s keen insight into Efira’s artistic courage and her willingness to engage with complex characters and narratives.
The demands of her role in Hamaguchi’s film, including learning Japanese, highlight her dedication to her craft. "I had to study Japanese, and there was a lot of work even before we started shooting. But you’re still surprised when opportunities like this come your way. It makes you work even harder, because you want to reciprocate the gift you’ve been given." This sentiment speaks to a profound sense of gratitude for the opportunities she has been afforded, fueling her commitment to delivering her best work.
Despite the intensity of her roles and the critical acclaim she has garnered, Efira maintains a remarkably grounded perspective on her profession. She humorously dismisses the notion that acting is an inherently perilous undertaking. "Sometimes I read interviews with other actors and they make it sound like they went to war, you know? They say: ‘I really put myself in danger.’ What danger? I made a film about a terrorist attack [‘Paris Memories’] and some people went: ‘It feels like we’re really experiencing it.’ It doesn’t. Once they yell ‘cut!’, we can all eat a bar of chocolate." This down-to-earth assessment serves as a refreshing counterpoint to the often-dramatic narratives actors construct around their craft, emphasizing the reality of the filmmaking process as a collaborative and ultimately safe endeavor.
For Efira, the essence of her work has shifted from the geographical location of production to the quality of the collaborative relationships she fosters. "These days, it’s not about where she’s making movies – it’s about who she’s making them with," she stated. "It’s about the relationship with the director, their sensibility and what’s in their eyes. If there’s nothing there, you can try your best, but nothing interesting will come out of it." This emphasis on the director’s vision and their ability to inspire and guide underscores Efira’s belief in the symbiotic nature of filmmaking, where the actor’s performance is intrinsically linked to the director’s creative intent.
She further elaborated on the allure of working with visionary directors, even outside her native France. "Before working with Ryūsuke and Asghar Farhadi [on ‘Parallel Tales’], I was thinking about making movies outside France, but it’s a great country for actors. It gives us stability. When foreign directors decide to work there, they often lose something, but Ryūsuke didn’t fall into that trap. He never speaks French, but I think he understands everything." This observation suggests that while French cinema offers a supportive environment for actors, true artistic collaboration transcends linguistic barriers, relying instead on a shared understanding and a mutual respect for creative vision.
Efira also touched upon the element of chance inherent in an acting career, challenging the notion that success is solely a product of deliberate visualization. "Some people say: ‘You must visualize what you want and then you’ll have it.’ It’s not so simple, guys! There’s a lot of chance involved in what we do, and I accept that. But when you work with someone like Ryūsuke, who really pushes you as an actor, you want to keep on being pushed." Her acknowledgment of serendipity, coupled with her desire for artistic challenge, paints a picture of an actor who is both realistic about the unpredictable nature of her profession and driven by a relentless pursuit of growth and self-improvement.
Maintaining her characteristic humility, Efira attributes her grounded nature to her Belgian heritage. "Or maybe I’m actually pretentious when I’m all alone?," she mused with a laugh. "I think it’s just the Belgian in me." Born in Belgium and holding dual citizenship, Efira finds a certain comfort and perspective in her small, often underestimated nation. "France feels so big with Napoleon and De Gaulle. Belgium is small, and that’s a good thing. It gives you some distance. My father used to say: ‘It’s always better to take the stairs than the elevator.’ You have to put effort into everything you do. That way, you won’t lose your head." This simple yet profound piece of fatherly advice encapsulates Efira’s philosophy: a belief in the value of hard work, perseverance, and a humble approach to life and career, ensuring that success never leads to an inflated ego. As she continues to navigate the complex landscape of international cinema, Virginie Efira’s blend of artistic daring and unpretentious wisdom promises to yield many more compelling performances and insightful contributions to the world of film.
