Close-up with Denis Villeneuve, Feature Films Jury member

Denis Villeneuve - Member of the Feature Films Jury © François Silvestre De Sacy /FDC

Originally from Quebec, Denis Villeneuve made his debut at Cannes with his first feature film Un 32 août sur Terre, in 1998. Twenty years later, he is considered one of the most adventurous directors in world cinema. Incendies, Sicario, Premier contact (Arrival) and Blade Runner 2049, the filmmaker has enjoyed continued success, including an Oscar nomination. Close-up with the most American Québécois.

How do you approach your role as a Jury member?

When I was asked to join the Jury, it was an almost egotistical opportunity to revive my passion as a cinephile. I've watched fewer films in recent years because my time has been taken up with directing. After my last film, I felt an urgent need to take a break and to once again cultivate my love of cinema. I needed films that would surprise me, and so far, I haven't been disappointed. And yet as a filmmaker I do find it hard to judge my peers. I've decided not to judge the films, and instead to champion them.

What do you remember from your first time at Cannes?

It was a shock. I was aware of the prestige and quality of the Festival's films, but the scale of the market surprised me. I was struck by how cinema's heritage could be felt through the history of the Festival itself.

Which was the first film to really impress you, in a cinematographic sense?

The film that really made a mark was 2001: A Space Odyssey. I first watched it from the staircase when I was very young. I then saw the entire film on television and was struck by the sense of vertigo that he managed to create. It became my favourite film. Rediscovering it at the Festival, in 70mm, was a special moment for me.

I’m definitely a very American filmmaker.

Which directors have influenced you the most?

Spielberg was the first filmmaker to teach me how to direct a film. I come from a small village in Quebec, so my first interactions with cinema has a strongly American influence. Through Spielberg, I discovered Truffaut, who I had never heard of and who then introduced me to the Nouvelle Vague. Ingmar Bergman was also a revelation for me.

You're from Quebec but your films are very American. What took you down this particular route?

I always wanted my work to have an American slant, but I was a bit clumsy. I began my career with Un 32 août sur Terre, a Québécois film influenced by the Nouvelle Vague, but soon realised that this wasn't for me. As soon as I accepted my North American roots and realised that I had to return to my first love, I was able to let go and quickly felt much happier. I'm definitely a very American filmmaker.

Premier contact (Arrival), Blade Runner 2049 and very shortly Dune are all science fiction films. What appeals to you about this particular genre?

I first encountered cinema through this genre, and 2001: A Space Odyssey was my first cinematic shock. Science fiction appeals to me because it allows you to tackle difficult subjects such as religion, or other aspects of society that are off-limits, with a great deal of freedom and distance.

I would like to create a body of work that stands the test of time.

How do you approach major projects such as Blade Runner 2049?

Blade Runner 2049 was the hardest thing I have done in my life so far because I was appropriating someone else's dream. It felt like an act of vandalism! Taking possession of this creation was very complicated and it took almost two years of work.

You've directed Jake Gyllenhaal twice now. What is so special about him?  

When we worked on Enemy, we both felt the need to re-examine the actor-director dynamic. I wanted to establish a connection with the actor and wanted him or her to occupy a central role in my work, and Jake was seeking the same. We first tried this out in Enemy, a very experimental film and one where we didn't place ourselves under any pressure. I then asked him to work with me on Prisoners and we applied what we had developed together.

Xavier Dolan, Jean-Marc Vallé, yourself… Canadian cinema is thriving. How do you view your country's cinema?

There are two very different kinds of cinema in my country. Canadian cinema is funded by the government but filmmakers from Quebec receive additional regional subsidies. This acts as a form of encouragement and is delivering results. Although my form of cinema is more American, unlike Xavier Dolan whose work is strongly influenced by Québécois culture, it is still inspired by my roots and this surfaces in the way I tackle themes or characters.

Two films at Cannes, several Oscar nominations… What else would you like to achieve?

What is important to me, is making a film that will be a solid piece of work, one that endures. I would like to create a body of work that stands the test of time.