Venice 2024 (Settimana Internazionale della Critica): Paul & Paulette Take a Bath | Interview
We were thrilled to speak with Jethro Massey, the director, and Marie Benati, the actress who plays Paulette, about Paul & Paulette Take a Bath, a romantic film that explores our curiosity about tragedy in a unique way.
Paul, a young American photographer, and Paulette, a French woman, form a unique friendship through their shared interest in reenacting infamous crimes at historical locations.
Paul & Paulette Take a Bath made its debut at the 2024 Settimana Internazionale della Critica, as part of the 81st Venice International Film Festival, showcasing Massey’s distinctive storytelling style. We had the pleasure of discussing the film with both Jethro and Marie, as they shared insights into their creative journey and the film’s themes.
Polina Grechanikova: I’m particularly interested in how the film delves into themes of curiosity and a fascination with tragedy. Can you share how you came up with the idea to intertwine these themes with a romantic narrative?
Jethro Massey: The journey began with my interest in exploring our collective fascination with darker subjects. Many people enjoy watching murder mysteries and true crime stories, so I thought about creating characters who venture into historical sites in Paris, places where terrible events occurred, and reenact those moments. It was essential for me to imagine the type of characters who would engage in such experiences. When tackling heavier themes, I believe it’s crucial to infuse some lightness into the narrative. I’m particularly drawn to dark humor, which can evoke discomfort. Sometimes we laugh, only to question whether it was appropriate. This interplay helped shape the evolving story of Paul and Paulette. The title, Paul & Paulette Take a Bath, was intentionally humorous, reflecting the absurdity of their shared names, which also adds a comedic element. It’s akin to how the history of a place alters our perception—when you learn about significant events tied to a location, your feelings toward it transform. I wanted to explore that complexity and balance between light and dark, which Marie and Jérémie beautifully brought to life through their performances.
Marie Benati: It was incredibly enjoyable to delve into these characters, especially regarding the romantic dimension. Their names, Paul and Paulette, remind me of a children’s story. There’s a sense of wonder in their fascination with history and scary tales, which connects to childhood. We all have that childlike curiosity inside us. When you find someone who helps you feel like a kid again, it creates a special bond. That’s what happens with these two—they find someone to be silly with, to play roles, and to have fun together. Their love story feels like a game, and there’s a sense of freedom in that playfulness. That’s what I thought while watching the movie.
Polina Grechanikova: Was it challenging to strike a balance between artistic interpretation and historical references, particularly regarding places like Hitler’s bathroom? Where do we draw the line between memory and artistic expression?
Marie Benati: Absolutely. In art, finding the right limits is vital. You need to know where the boundaries lie while also pushing against them. What I loved about reading the script was its authenticity—it reflected something I recognized within myself and others. We all possess this curiosity about things we might not necessarily approve of, yet they still spark our imagination. I believe it’s the role of theater and cinema to portray the multifaceted nature of humanity, showcasing both its virtues and flaws. The characters felt relatable because they embodied this complexity. At the beginning of the film, they approach their experiences without any judgment. However, as their journey progresses, they begin to grapple with deeper emotions. Initially, the events they encounter feel surreal, but as the narrative unfolds, it becomes darker and more emotionally charged.
Jethro Massey: When we watch a film, we dive into different lives and experiences. Paul and Paulette epitomize this exploration of empathy and understanding. The challenge was to weave historical context into the narrative without overwhelming the audience. If the film feels like a history lesson, viewers might disengage. I aimed to present history organically throughout their journey, allowing it to emerge naturally rather than feeling forced. It was essential to ensure that historical elements served as a backdrop to Paul and Paulette’s experiences. I thought starting with a historical figure like Marie Antoinette created necessary distance. As Paul and Paulette’s journey brings them closer to contemporary issues, the discomfort intensifies. I found myself pondering when audiences might feel the characters have crossed a line—was it when they visit the human zoo, Hitler’s bathroom, or the apartment they explore at the film’s end? This tension fascinates me, as different viewers will have distinct thresholds for what feels excessive.
Polina Grechanikova: Marie, your character seeks to escape her own tragedy through performance. Have you ever used creativity or artistic expression as a way to navigate challenges in your own life?
Marie Benati: That’s a complex question. I wouldn’t say I’ve experienced tragedies similar to Paulette’s, but we all search for ways to experience different lives through acting. This process allows us to connect with people we might overlook in everyday life. Personally, I don’t draw on my own experiences while acting. I prefer to keep my personal emotions separate from my characters. However, Paulette’s quest for fulfillment and connection is relatable; she seeks to engage with others, even those who have passed away. Her journey feels isolating until she meets Paul, who understands her without the need for words. Their bond allows her to be free and authentic, especially in moments where he encourages her to be herself without putting on a show. This idea resonates deeply, especially in today’s world, where everyone seeks acceptance and understanding. Like many kids, I admired movie stars and wished to be like them, but what truly overwhelmed me was the realization that acting allows for emotional expression. Jérémie and I recently discussed how we both avoid drawing on personal experiences in our craft. We believe acting should be a creative endeavor rather than something traumatic.
Jethro Massey: I think you, Marie, approach acting from a unique perspective compared to many other actors. Your initial attraction to the craft seems rooted in exploration rather than the desire for the spotlight. When we talked, it became clear that your first connection to acting came from the freedom to explore characters rather than seeking fame. There’s a beautiful connection between the craft of acting and the exploration of self through role-play. Just as children mimic adults to understand what it means to grow up, our characters are on a similar quest for understanding through their experiences.
Polina Grechanikova: In today’s digital world, we have constant access to news about tragedies and catastrophes. How does the film reflect on our modern perception of these events?
Jethro Massey: One scene I really like shows Paulette finding an old rotary phone and naturally reaching for her mobile to dial. This moment shows how we interact with information today. We are overwhelmed with images and stories that often don’t feel as important anymore. In the past, we would carefully share and enjoy photographs, but now information flows so quickly that we can become numb to it. The film encourages us to think about the historical meaning of the places we see every day, helping us connect more deeply with both beauty and sadness. I once interviewed Thomas Bergenthal, a Holocaust survivor and judge. He talked about how sharing personal stories is important for understanding each other. When he showed me his tattoo, it made his story feel very real, reminding me that it wasn’t just history; it was something very personal. While we can’t fully grasp the scale of tragedies, it’s important to stay open to individual stories that connect us as humans.
Marie Benati: Today, tragedies are everywhere and can feel really overwhelming. Being constantly aware of them can make us numb to our emotions. We often need to protect ourselves from feeling too much. Seeing protests and terrible events makes us think about how to cope without shutting down. This film encourages us to find a balance—how much tragedy can we take in without breaking? It’s a challenge we face every day, and the film shows that struggle. That connection is really important, especially now when we’re flooded with information. We need to handle this wisely, using our access to information while making sure we don’t get lost in all the media and images.
Explore our exclusive coverage of the 81st Venice International Film Festival here.
