“Every time I pitched to a committee, it felt like coming out all over again”
IMAGE BY SOFIE GHEYSENS
In Skiff, a young rower struggles to balance family life, self-expression and taboo crushes. Adolescence is proving a challenge for Malou – whether it’s their parents’ divorce, gender identity or bullying by peers. But more trouble lies ahead when Malou’s infatuation with their brother’s girlfriend becomes all too clear.
Why was it important for you to tell this story?
I had several reasons for wanting to tell this story. When I started this project eight years ago, I felt – and still feel today – that there is a lack of representation for lesbian and non-binary individuals. Within queer cinema, there is a noticeable tilt toward stories centred on gay men, while films by lesbian directors featuring lesbian protagonists remain a minority. I wanted to lead by example. Moreover, I felt it was vital to highlight intersectionality by giving a face to characters who exist at the crossroads of different minority identities. We live in incredibly polarising times, exacerbated by social media and political figures like Trump or Netanyahu, where everything is demanded to be black or white. Through my main character Malou’s journey, I want to call for empathy and nuance. It’s not always about having the final answer; the search itself, and the beauty of the “grey zone,” is where the real interest lies.
Was there a specific moment or reference point which inspired your film?
I grew up as the only girl with three brothers. One of my older brothers was very popular and often brought girlfriends home. At the time, I was only twelve or thirteen and hadn’t realised I was queer yet, but those girls definitely had an effect on me. I remember feeling so nervous whenever I had to open the door for them. Now, of course, I understand why. When I started to think about an idea for a new film, I asked myself: what if I had fallen in love with one of my brother’s girlfriends? What would that have triggered? How would it have affected me, my brother, and our family dynamic? That “what if” became the foundation of the film.
Did making this film change how you understand your own queerness?
I was in my thirties when I started this film, so I was already comfortable with my identity. However, the process made me more compassionate toward my own journey. I only discovered I was a lesbian at twenty, and this film helped me embrace that slower pace of self-discovery. It also made me prouder. Bringing this story to life meant constantly talking about my own experiences to convince investors and audiences; in doing so, I realised I still carried some unconscious shame and a fear of judgment. Every time I pitched to a committee, it felt like coming out all over again. Ultimately, it has made me more resilient and self-accepting. I’ve learned that other people’s judgments usually say more about them than they do about me.
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 the audience feels seen. Representation is so vital; seeing someone like yourself on screen, with the same background or identity, sends a powerful message: “You exist, and you are seen.” I also hope viewers walk away realising that everyone has their own pace and their own journey. We need to respect that process and be careful not to fall into the trap of pigeonholing people ourselves.
BFI is celebrating its 40th anniversary this year. What LGBTQIA+ film from the last four decades has changed your life and why?
I think the films of Céline Sciamma have had the greatest impact on me. She proved that there is a genuine audience for stories told by lesbian women about lesbian characters. She showed me that these narratives deserve to exist and are worthy of taking up space in the cinematic landscape.
Why is it so vital that we continue to support and celebrate spaces like BFI Flare for the next 40 years?
It’s becoming increasingly clear that no right is ever fully guaranteed. Look at the US, where rights for trans people are being rolled back as we speak. Our place in society today isn’t necessarily a given ten or twenty years from now. That’s why we must continue to make ourselves seen and heard. Spaces like BFI Flare are more vital than ever to remind the world that we exist and that we are here to stay.
BFI Flare has been running since 1986. What do you think queer audiences in 1986 would make of your film?
I was only a year old in 1986, so it’s hard to say for sure. However, I think it would have been seen as quite groundbreaking at the time, especially the way it intertwines the exploration of both sexuality and gender. I believe it would have sparked a very intense and interesting discussion back then. It’s actually sad that we still need to tell these stories today, 39 years later, that it’s in a way still groundbreaking today.
Why do you think LGBTQIA+ filmmaking is so important in 2026?
The world is on fire right now in a way I haven’t seen in my lifetime. We are seeing power-hungry figures making unilateral decisions about our lives. We might not be able to fight back with weapons, but we can fight back with love, art, and culture. That is why LGBTQIA+ filmmaking is so essential in 2026.
What queer cinematic ancestor would you want sitting next to you at your BFI Flare screening and why?
Céline Sciamma. I would love to sit next to her and talk about her work, her life, and hear how she would answer these very questions. I also would want to tell her how much she meant to me, how much she leads by example.
The 40th BFI Flare: London LGBTQIA+ Film Festival takes place 18 – 29 March at BFI Southbank. SKIFF premieres at BFI Flare on 22 March. You can find out more about BFI Flare here: whatson.bfi.org.uk/flare
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