11 novembre > SALA 5 ore 21

France – 2020 – colore – 108’

CREDITS

Direction: Marie-Castille Mention-Schaar

Screenplay: Christian Sonderegger, Marie-Castille Mention-Schaar

Cinematography: Myriam Vinocour

Editing: Benoît Quinon

Set design: Isabelle Quillard

Costumes: Isabelle Mathieu

Cast: Noémie Merlant, Soko, Vincent Dedienne, Gabriel Almaer, Alysson Paradis, Anne Loiret, Geneviève Mnich, Jonas Ben Ahmed

Producer: Marie-Castille Mention-Schaar

Production: Willow Films, Scope Pictures, France 2 Cinéma

Word Sales: Pyramide Films

SYNOPSIS

Benjamin is a nurse, Aude gives dance lessons. They are enjoying their new life after leaving Aix-en-Provence. They have been deeply in love for six years, since they first met in a disco. But the desire to have a child completely upsets their balance and forces them to try and redefine their place and relationship with the world…

THE DIRECTOR: MARIE-CASTILLE MENTION-SCHAAR

Marie-Castille Mention-Schaar began her career as a journalist in Los Angeles for The Hollywood Reporter in Los Angeles. She then became a film consultant. She moved back to France and produced films at Trinacra Films before founding her own production companies Loma Nasha and Vendredi Films with Pierre Kubel in 2001. Together, they produced 14 feature films. In 2008, Mention-Schaar wrote her first screenplay, La Premiere Etoile. Following its huge box office success, she wrote and directed her first film Ma Premiere Fois. In 2015, Mention-Schaar founded a new production company, Willow Films, where she produces and co-produces feature films such as Coby by Christian Sonderegger, Le Rire De Ma Mere by Colombe Savignac and Pascal Ralite, Honey Cigar by Kamir Aïnouz, Heaven Can Wait & All About Mothers by Marie-Castille Mention-Schaar. Mother of two, she is the founder and president of Le cercle feminin du cinema francais and an Officer of Arts et Lettres and a Board member of the SACD. A Good Man is her sixth feature film as director.

DIRECTOR’S STATEMENT

“I have been keenly interested in the question of genders, roles and identities for years. What does it mean to be a woman, a man? What does it mean to be a mother, a father? For centuries, patriarchal societies have been building these roles, tailoring these clothes that we are made to don. They constrain, castrate, compel, yet also reassure us. The “fluidity” that our societies have been facing for the past few years is disrupting all that. It also scares people, of course. It is easy to understand why so many countries have imposed sterilization on trans men: it saves them the trouble of having to cope with what remains for most people an absolute taboo: a pregnant man. But today codes are changing, and they are changing fast. Especially for younger generations. And this is where cinema may help enlighten people and generate a debate. Because viewers can relate to the most singular stories and make it their own. Because films engage people on questions that we are all asking ourselves.”