Chew-Bose is soft-spoken and thoughtful, but it’s clear that her artistic ambitions are lofty
), plays solitaire with his teenage daughter, Cecile . That might not sound dramatic, but like every scene in this deceptively languorous film – the screenwriting and directing debut of Montrealer Durga Chew-Bose – it’s about what’s simmering underneath. About who’s invited into whose inner life, who’s not, how subtly that changes, and the devastation it wreaks.
She cites as inspirations Kelly Reichardt, Lucrecia Martel, Olivier Assayas, François Ozon and especially Mike Leigh, with whom she’ll share a stage at TIFF on Sunday, as he receives the Ebert Director Award, and she acquires Chew-Bose’s version hews to the novel’s through-line: Cecile, 17, is discovering her sexuality, its power over herself and others; Raymond, a widowed rogue, is in a relationship with Elsa , who is younger and artistic. After Raymond detonates their idyll by instigating an affair with Anne , his late wife’s best friend, Cecile contrives to drive Anne away.
Directing felt natural to Chew-Bose, even though she cops to being the least experienced person on set – and that includes McInerny, whom she used to babysit in New York. From Sevigny, Chew-Bose learned “there’s always a little bit more work to do, and you have to go for it. Never be satisfied. She’d see a flower arrangement and suggest something a bit different for her character. It was always a delight to edit her scenes.
Chew-Bose Scene Cecile Raymond Film Plot Chew-Bose Anne Mike Leigh Alice Scotiabank
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