Cannes 2024: Interview of Iris Kaltenbäck
French filmmaker Iris Kaltenbäck, who debuted her film Le Ravissement at Cannes last year, returns as a Critics’ Week juror, and one of Unifrance’s “10 to Watch.”
No film at Cannes this year? No problem! Young French filmmaker Iris Kaltenbäck was thrilled to attend the 77th Cannes Film Festival as a “mere” spectator… but that’s not all. Last year, she presented her first film, The Rapture (original title: Le Ravissement), on the Croisette, at the 62nd Critics’ Week. The film was then nominated for the César Award for Best First Feature Film, and main actress Hafsia Herzi for César Award for Best Actress. In 2024, she serves as a member of the Critics’ Week jury, whose poster featured an image from her own film.
Besides, the talented director was showcased on the Croisette by Unifrance, as part of the “10 to Watch” operation which aims to contribute to the emergence of new French cinema artists internationally. It seeks to increase their recognition beyond our borders (among journalists, festival selectors, broadcasters, and the general foreign public) and thus participate in the renewal of French cinema icons. The 2024 10 to Watch list highlights talents such as Jean-Baptiste Durand, Souheila Yacoub, and Stéphan Castang, whom we have had the pleasure of welcoming to Film Fest Report recently. Among them is also French filmmaker Iris Kaltenbäck who is off to a flying start. We were delighted to chat with her in Cannes.
How does it feel to come to Cannes without a film to present?
Iris Kaltenbäck: Last year was actually my first time on the Croisette. Returning for this 2024 edition as a Critics’ Week juror is a tremendous honor and responsibility. People often say, “Don’t go to Cannes if you don’t have business there.” But I disagree; being there solely to explore films is a joy in itself. Since the festival began, I’ve been watching three or four films a day, whether in Critics’ Week or other sections. It’s like a cure of cinema… and it’s absolutely fantastic!
What are your favorites this year, putting Critics’ Week aside since I imagine you’re not allowed to talk about it?
I saw L’histoire de Souleymane, selected for Un Certain Regard, and thought it was a very beautiful and successful film. In competition, I was very moved by Caught by the Tides by Jia Zhangke, a Chinese filmmaker I really like. It’s fantastic to be able to see all these films and think about the cinema we make. Last year, presenting my film here was a great joy, but also a great deal of anxiety and stress.
The Rapture, your first feature film presented last year, is a sort of extension of one of your earlier short films. Is this for economic reasons, because we often hear that it’s easier to convince producers with a short film?
It’s not really an adaptation of my short; they’re quite different films, even if they share a common theme. That said, what you mentioned about the French film industry is accurate. Before Le Ravissement, I tried to make another feature film with producer David Thion of Films Pelléas. We had the cast and the project was well advanced, but we couldn’t secure financing. After that, when I pitched Le Ravissement, which had a connection to my short film, it helped secure the funding. In France, there’s often this rule for first films that can be a bit restrictive. Nevertheless, I was very happy to make this film, and it was very close to my heart.
Explore our exclusive coverage of the 77th Cannes Film Festival here.
