YDA winner Gillie Cinneri talks death and dysfunctional families

Have you always wanted to be a director? What's your favourite part of the directing process?

At first I wanted to be an actress, I actually went to theatre school after high school in Paris, before doing my film studies in Belgium. My favourite part of directing is working with the actors. Because of my previous studies in theatre, I always pay very close attention to my actors.

A few years ago I found myself attending the embalming of a stranger in a funeral home. 

Above: Gillie Cinneri's Allégresse picked up a Gold Screen award in the Film School category.

Where did you first get the idea for Allégresse? How did the story evolve?

A few years ago I found myself attending the embalming of a stranger in a funeral home. I was fascinated by the colour and rigidity of cold his skin, and above all I was amazed by and curious about the female embalmer, who truly liked her job. She made me see corpses and death in a different, beautiful kind of way.

It was important for me to keep the cruel, dark tone I had developed throughout the film, and Serge should ultimately remain lonely...

The story evolved a lot from my original concept. At first, the character of Serge's child, Inès, wasn't so prominent, and the same for Michel's ashes, but they became more present in the story when I decided how their relationship would develop. 

What were your visual inspirations for the film? 

My DOP, Samuel Hermand, was very inspired by Roy Anderson's films. I was more inspired by Todd Solondz films, such as Wiener dog. I think the final product is a mix of both of our inspirations.

Above: Casting Serge was easy for Cinneri; the actor instantly made them laugh and feel empathy for Serge

Can you talk us through how Serge and Inès’ characters develop, and how their relationship with each other changes?

At first, Inès and Serge don't know much about each other. Serge and Inès' mother are divorced, and Inès lives with her mum. Serge would like to get closer with her but he doesn't know how to. Inès, as with most children, doesn't spare his feelings and makes it clear that she doesn't care for him. Serge is trying, but he is terribly clumsy, not realising that his job could shock this little girl. It's Michel's ashes, in other words death, that finally brings them together. 

Choosing Serge was easy. During the casting he made me laugh, and I had a lot of empathy for him.

In the end, we see that their relationship has evolved when Inès tells his dad she loves him. At the same time though, it was important for me to keep the cruel, dark tone I had developed throughout the film, and Serge should ultimately remain lonely, always closer to the dead than to the living. 

Above: Serge wants to get closer to his daughter, but he doesn't realise his job could scare a young child. 

What was the casting process like? Why did you choose these actors?  

Choosing Serge was easy. During the casting he made me laugh, and I had a lot of empathy for him. I knew he would fit the character perfectly. For Inès, it was way more difficult. I don't particularly like directing children, so I had to find the perfect girl who could be patient and repeat the same take over and over again. 

I think the cars and the truck smashing the ashes was the best scene to film! It was stressful, but also very funny. 

I couldn't find the one, so eventually I asked around theatre schools and finally found her. She'd never been in a film before, but her glasses, her deep voice and her large sweatshirt convinced me that she was Inès. 

The story evolved a lot from Cinneri's original concept, with the character of Inès becoming more prominent as her relationship Serge develops.

How long did it take you to make the film? What were the best and most challenging aspects?

The shooting was 8 days long, and the whole creative process lasted one year and a half. The most challenging aspects were finding all of the sets, and to move from set to set every two days. 

I'm glad to also be recognised by a professional jury, especially as my film is more of a comedy than a serious drama.

I think the cars and the truck smashing the ashes was the best scene to film! It was stressful, but also very funny.