With a musical score that will both delight and haunt for days after, Days of Happiness is a carefully wrought study of an unforgettable queer artist
BY ELLA GAUCI, IMAGE BY CHLOÉ ROBICHAUD
Could you tell us a bit about what inspired you to make this film?
I like to see female characters on screen in fields where they are normally underrepresented. In that sense, a conductor had something very powerful and contemporary. And since I wanted to make a film about the unfolding of emotions, classical music was perfectly suited to make us experience Emma’s dramatic arc. Music is a universal language that easily generates viewer engagement. The gestures of conductors are so cinematic as well. With the simple movement of her hands, Emma tells us a story. I find that fascinating and moving. It’s also a film that is more personal in certain respects, and it was easy for me to project myself into this kind of character. It’s even a metaphor that we hear all the time in cinema: that the director is a bit like the conductor of a film. I took them at their word!
What is the key message you hope LGBTQIA audiences take from your film?
The film is an act of self-love. And who knows, maybe audiences can feel it and appease whatever they need to appease while seeing this film.
What are the main themes that your film explores?
I have been sensitive to toxicity in family relationships for a long time. I’m interested in how violence can be transmitted from one generation to another, and how we can carry it within us. It has been with me for a long time, and I was particularly interested in addressing this issue because violence within the family is extremely taboo. But almost everything within us stems from there.
What is your favourite line or scene from your film?
I’m very proud of the work we’ve done with the Schoenberg concert scene. It was a difficult one to tackle, both for Sophie and me. There’s a lot going on inside Emma’s mind, and yet it’s such a physical moment. I wanted to capture the dissonance of the music and the tension felt by Emma through my choices of lens, camera movements and the precision of the editing.
But there’s a smaller scene, which I still love to watch. Jad, Naëlle’s young son, cuddles with Emma one morning. He just looks at her in the eyes and caresses her face gently. It is so simple but extremely sincere. Emma is loved by a child, and it is pivotal to her.
How did you get into filmmaking and what has been your biggest challenge in the industry?
As far as I can remember, I always knew filmmaking was my path. I studied cinema and made short films from a young age. But now at 36, with a few features and projects under my belt, I guess my biggest challenge is to keep persevering. Filmmaking is hard, it takes a lot from you. You always need to fight for what you believe in. It’s often exciting, sometimes very frustrating. But in the end, I still want to tell those stories. Filmmaking is a privilege.
Why is LGBTQIA representation in film so important in 2024?
Fiction has a huge impact on people’s beliefs. It is a mirror of our society. It needs to speak to everyone, to tell everyone’s stories. Fiction has a real influence on reality, and vice versa. Personally, I want to make films that inspire and positively confront our preconceptions. That’s also why I feel the need to present characters from the LGBTQIA community at the forefront. When I go to the movies, often I don’t see myself on screen. I’m trying, in a way, to break down preconceived ideas about femininity. Because there are multiple ways of being feminine. Femininity in cinema is too often represented in the same way.
Why are events like BFI Flare which centre LGBTQIA films so important?
It’s such a great way to connect, to share our stories and to make sure the LGBTQIA film community has an opportunity to highlight some of this year’s most powerful films.
This year’s Flare is split into the themes of Hearts, Bodies, and Minds. Do you have an LGBTQIA film which affected your heart, body, or mind?
The Hours by Stephen Daldry, a true masterpiece. So much is said in between the lines, it is a wonderful work of subtleties and nuances.
What do you hope to see in the future of LGBTQIA filmmaking?
Hopefully more films with LGBTQIA characters at the forefront of the story. It is always refreshing also to have queer characters as lead and have their storyline not necessarily about their sexual identity.
DAYS OF HAPPINESS screens as part of BFI Flare at BFI Southbank on 16 and 18 March. The screenings are sold out however a limited number of standby seats are reserved for sale half an hour before each performance. These are only available for customers in person at the BFI Southbank Box Office.
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