One of the most highly acclaimed short films to play as part of the Competition Selection at this year’s Femme Filmmakers Festival was Foyer, written and directed by Sophie B Jacques. Crossing two timelines so seamlessly between an unbeknownst homeowner and the clandestine guests who rent her house while she is away.
I am going to be bias and declare this my personal favourite of the Competition Selection. Foyer is inch perfect throughout, showing a real understanding and precise execution of cinema. Even at such a short runtime. I was delighted, then, when Sophie B Jacques agreed to speak to Filmotomy about her influential styles and the making of this masterpiece.
ROBIN WRITE: If the film world didn’t exist, it vanished into dust, what would you do for fun and/or a career?
SOPHIE B JACQUES: I would be a construction or renovation project manager. From drawing to final product. Of course, I would start by building my own house with many secret passageways and glassed corners overlooking nature.
This profession is similar to my work as a filmmaker where you have to think of the smallest details, where you have to communicate your vision with different skilled workers so that all the tasks are carried out with precision. There is a creative and very concrete side that I really like.
When did you know you wanted to work in film? Which filmmakers and films inspired your journey?
I’ve always loved directing. I remember my firsts stagings in the schoolyard at elementary school. I would distribute roles to my friends and explain what their character was going through and encourage them to play with emotion and veracity. I have touched actor’s game, the photography, the sets, the costumes, the editing, then I became aware that there was a profession that embraced all my passions: directing.
I am very inspired by David Fincher’s work. I like his precision, his symmetry, his acting direction, the intelligent stories he chooses to bring to the screen (Fight Club, Seven, The Game). I love the dark humour of the Cohen brothers (Fargo, No Country for Old Men), the raw aesthetic and troubling topics of Haneke’s movies (Funny Games, Amour, Caché). I’m also a fan of David Lynch’s humor and controlled madness (Twin Peaks, Blue Velvet).
What is your background in film, like education, films made so far etc?
After studying photography, I studied film making at L’inis in Montreal where I made my first two ‘’real’’ short films. Then I got a scholarship which allowed me to fly to Brussels to shoot my first documentary Dimanche, nous verrons. Following that, I shot the psychological thriller Chaloupe and the mockumentary Privé.
How was the idea for Foyer idea born? What is your screenwriting process? What influenced this story?
I did Airbnb at home for two summers. I rented my place to strangers, without even meeting them. As I read people’s comments, I was laughing while imagining a second meaning to their writings. I once agreed to rent to a couple that scared me a little. To reassure me, I said to myself: What’s the worst that can happen?… That’s when the idea came to me. I remember laughing a lot when writing this short film.
How did you cast Foyer? What is your relationship with the acting talent?
For Emilie’s role, I really had a hard time finding who would be the ideal person to play her. When I met Marilyn Castonguay, I immediately knew it was her. Her candid manner – at first sight – made me smile, but I also felt her underlying strength. Marilyn has a fascinating singularity in her eyes that makes the character even more intriguing.
I was looking for an Alice with an intimidating beauty, an almost icy class. The type of woman who possesses a softness and elegance that suggests she could never hurt a fly. Marianne Farley’s face appeared clearly in my head one morning.
As for Joël Marin (Tom), his atypical profile caught my attention. I had him read the script. We talked at length about Foyer, cinema, vulnerability, madness… I immediately loved the human I discovered. I invited him to an audition to see how chemistry would be with Marianne. His acting convinced me and their complicity naturally settled on the screen.
I like to take the time to discuss with the actors concerning the back story, answer their questions about the scenario. I really appreciate their contribution and their vision of the character.
As a director making Foyer, and the linking timelines often in one take, what difficulties did you come across? How do you choreograph this so well?
We made a lot of takes haha! It was real team work. While the camera was moving on the dolly peewee, the decors and props were quietly modified (which sometimes required Olympic contortions given the space limitations). At the same time, the actors were sneaking into position. Despite the difficulty, it was really fun to do.
Tell us about the editing process given the intricacy of the dual plot? What is your collaboration with the editor?
Richard Comeau and I met before the shooting to discuss how to move from one temporality to another. For more fluidity, we decided not to make any special effects and to do everything during the shots, which was convenient given the modest financial means we had. It was really fun to work with Richard, he has a wealth of experience and knew how to advise me with intelligence and sensitivity. He also has an impressive general culture, which led to inspiring exchanges.
How has Foyer been received by audiences and critics? How has the festival run been?
The phenomenon of rental platforms and online dating has generated some really nice discussions with the audience.
Foyer traveled to Europe, Australia, America, it passed through Rhode Island, Sydney, Krakow, Edinburgh, Olbia, California, Thessaloniki, Londonderry, Montreal… I am very happy with the warm welcome that Foyer received.
Who are some of the best female filmmakers working today?
Sofia Coppola, Lulu Wang, Sophie Deraspe.
We’ll be following your progress as a filmmaker for sure. What is next for you either writing, direction or both?
I am currently co-writing with Claude Landry the feature film Tempête, a psychological thriller that I will soon be directing. I am also working on the writing of the feature film… Foyer!
