“More than ever, we must exist in embodied narratives, to break free from dangerous fantasies”
IMAGE BY PULSAR CONTENT
In Alice Douard’s Love Letters (Des preuves d’amour), central character Céline is in her early 30s. Her wife is expecting after they conceive via IVF. But the path to legitimise herself as parent is complex, demanding that she reconnect with her mother and in the process understand the intricacies of motherhood.
DIVA chats with Alice ahead of Love Letters’ screening at BFI Flare 2026.
Why was it important for you to tell this story?
The writing process stemmed from a desire for representation. Too few stories exist about same-sex parent families. I felt this was sorely lacking as a viewer when my wife was pregnant with our daughter. I wanted to bear witness by offering a romantic, joyful, and joyful film, hoping that it would be as much a cinematic pleasure as a political statement.
Was there a specific moment or reference point which inspired your film?
I believe that being a woman, being a mother-to-be, and not being pregnant is a very particular experience. There are no role models. It’s this feeling, this uncertainty, that guided the writing and directing, informed by discussions with many women who have been in this situation. The film then took shape using a wide range of references: Kore-eda’s Shoplifters, Wong Kar-wai’s Happy Together, and Ridley Scott’s Thelma & Louise.
Did making this film change how you understand your own queerness?
This film is one of many possible ways to build a family within a homosexual context. Above all, I tried to be as honest as possible. The writing and production process constantly reminded me that we are built upon hardship, judgment, and injustice, and that it takes immense courage to preserve love and joy. I realised, ultimately, that I was strong when the film was finished. That we all are.
BFI Flare is a celebration of LGBTQIA+ storytelling. What do you hope LGBTQIA+ audiences at BFI Flare take away after watching your film?
I hope that the audience will leave the screening feeling happy and that they will find strength, joy, and hope.
BFI is celebrating its 40th anniversary this year. What LGBTQIA+ film from the last four decades has changed your life and why?
It wasn’t a film but a series, The L Word, that really awakened and helped me. As for important films, there’s Love Songs, and the films of Christophe Honoré in general.
Why is it so vital that we continue to support and celebrate spaces like BFI Flare for the next 40 years?
BFI Flare is one of the venues that hosts contemporary narratives. Each year, it testifies to the diversity of perspectives that exist. It must be preserved for the public, as an artistic and political space.
BFI Flare has been running since 1986. What do you think queer audiences in 1986 would make of your film?
In 1986, the issue of homosexuality was more closely linked to death and shame than ever before. I think that 40 years ago, my film would have been unbelievable. It would have been seen as a complete utopia. There is still an obvious and daily struggle, but in 40 years, it’s clear that we’ve made immense progress.
Why do you think LGBTQIA+ filmmaking is so important in 2026?
Because we have and always will need representation. To identify with, to bear witness, to educate. And because our rights are fragile. More than ever, we must exist in embodied narratives, to break free from dangerous fantasies.
What queer cinematic ancestor would you want sitting next to you at your BFI Flare screening and why?
I’m thinking of Céline Sciamma, whom I met when I was studying at La Fémis. She’s a queer role model, but also a role model for female filmmakers, belonging to the generation that paved the way for women directors. There’s cinema and politics in her work. And above all, a great deal of intelligence.
The 40th BFI Flare: London LGBTQIA+ Film Festival takes place 18 – 29 March at BFI Southbank. Love Letters (Des preuves d’amour) premieres at BFI Flare on 21 March. You can find out more about BFI Flare here: whatson.bfi.org.uk/flare
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