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30 June 2020

Back in March, the organizers of the Rencontres 7e Art Lausanne made the decision to cancel its 3rd edition, scheduled for March 4 to 8. As an alternative, a selection of masterpieces with a romantic theme will be presented in partnership with Pathé Lausanne cinemas from June 24 to July 16, 2020.

In an interview with Switzerland's Le Temps last week, Vincent was asked how he felt when the March festival was canceled. He responded:

"It was a stressful time, but from the time we canceled, it was a relief. If gatherings greater than 100 people had been prohibited during the festival, we would have ended up with all our guests not knowing what to do. In the end, it was up to me to make this decision, but I wanted to do it in good understanding, especially with our sponsors, even if, at that time, our guests wanted to come. Fortunately, we were able to count on our partners."

Le Temps: So part of the programming will indeed exist…

Vincent: I am happy because we had really put together a nice program. In the last three months, with all that has happened in the world, but also with the emergence of important debates, in particular with this new awareness of the existence of racism, new questions have arisen. While remaining with the theme of love stories, we have therefore added a few films, such as "The Mirage of Life" by Douglas Sirk, a sumptuous film which speaks to me intimately since my children have African blood. We are going to show the works of very great directors, including several films by Billy Wilder and also "Breakfast at Tiffany's" by Blake Edwards, who had this gift of transforming serious subjects into comedy.

Le Temps: How did you experience the confinement spent in France with your family?

Vincent: I was very prolific: I had two scenarios to render, which I did. I am currently casting three films, two that I direct and a third one which I am actor and producer and for which one seeks a director. There remains the great difficulty of projecting into the future. As a reader, when I receive a script, for example, I have a lot of trouble getting into a story today, because I don't know where it will lead me. We’re talking about a traffic jam when all the filming starts again, but we don’t really know how it’s going to happen. For the rest, we were fortunate with my family to live this period of confinement and introspection in a completely pleasant way compared to all the people who really suffered. And no one in our inner circle has been affected by the disease. It was an interesting period compared to the way we look at the world, to the necessary questions. What should I change in my life? Is it worth running all the time? Is this stress with which we have become accustomed to living really necessary to move forward?

Le Temps: In one way or another, should the fictions of tomorrow take into account this global crisis?

Vincent: How will the stories we are working on be affected by what we have experienced? This is a question I ask myself. When we write, we have antennas. We try to feel what is happening to perceive the mutations of our cultures and human relationships. A film is strong from the moment it tells the story of the world at a specific time. The other evening, I saw "Full Metal Jacket", which was on TV. Even if it was made in the 1980s and talks about the Vietnam War, it talks about our relationship to the war and its absurdity. The great classics have stood the test of time and continue to resonate.



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