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Sabelle Huppert is a powerful presence. Just two days prior to our meeting, she undertook a journey from New York to Stockholm, with a stop in Paris. Two hours after arriving, she was already busy rehearsing onstage. The following night, she debuted in Mary Said What She Said, an exceptional one-woman portrayal of Mary Stuart, Queen of Scots. Despite harsh weather conditions, she braved the snowy streets in high heels to return to her hotel.
I am currently at a rooftop bar with the person I will be speaking with. The bar is closed off specifically for our conversation. We are both drinking citron pressé and the sunlight is fading as it gets later in the day. While she initially appears fatigued, she quickly becomes more at ease and her face is full of energy.
I was filled with nerves on the first night. She chuckled softly, saying, “It’s always a bit chaotic.” Theatre is an incredibly unique environment, as it presents such a challenging task. You are standing in front of an audience of hundreds, yet you do it. The transition from fear to success happens quickly. However, the initial fear is always close at hand. On an opening night, the fear is even more intense.
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No matter her emotions, her portrayal in the monologue “Mary Said What She Said” by Darryl Pinckney and helmed by the experienced American innovator Robert Wilson, is remarkable. Standing solo on stage for an hour and a half, she executes a blend of a ritual and a grandiose court dance, her stylized and continuously repeating gestures paired with Pinckney’s lyrical words captivating her spectators.
The play is not simply a tragic retelling of the story of Mary, Queen of Scots. Instead, it seeks to conjure her spirit. Surprisingly, given Wilson’s tendency for striking visuals and deliberate pacing, the play has a significant physical element. “I was surprised, too,” says Huppert with a gentle smile. “Despite being alone on stage, I never feel lonely. I am constantly surrounded mentally, emotionally, and spiritually by all the characters I am speaking to. And with all the dancing and changes in vocal delivery, I am kept very occupied.”
She giggles. This marks her third partnership with Wilson – she has previously starred in Orlando, a monologue, and Quartett, a four-person adaptation of Les Liaisons Dangereuses. “I believe he is a mastermind, one of the most brilliant theatre creators of our time. I appreciate that he has a clear vision and directs everything. It’s always well-planned, not improvised. I follow his directions because it allows me a lot of creative liberty. Despite the precision, I feel completely uninhibited.”
This is Huppert’s mode of operation. Whether acting in movies or on stage, she seeks out a director she respects and has confidence in, and then dedicates herself completely to their vision. She willingly embraces the role they have created and fully immerses herself in it. She knows there are boundaries, yet she also feels limitless. Each project and director has their own unique world and she adapts accordingly. She maintains her consistency, yet also leaves room for new possibilities.
Thanks to her ferocious work ethic, that means that in the past five years on stage she has starred in New York in Florian Zeller’s The Mother, in The Glass Menagerie (directed by Ivo Van Hove) in Amsterdam and The Cherry Orchard directed by the Portuguese star Tiago Rodrigues in Avignon. After Stockholm, and before the work comes to the Barbican, she squeezes in a new version of Racine’s Bérénice in Paris, directed by the Italian Romeo Castellucci, in which she is the only speaking character on stage.
During her time in the film industry, she has portrayed various characters, such as a haughty guardian of a fashion house in Mrs Harris Goes to Paris, a union leader who experiences sexual assault and isn’t believed in The Sitting Duck (also known as La Syndicaliste), and a peculiar performer with a red wig in François Ozon’s comedic film The Crime is Mine. Recently, she wrapped up filming her second project with French director Patricia Mazuy, Les prisonnières, where she portrays a suburban wife of a convicted criminal. She also just finished her third film with innovative Korean director Hong Sang-soo, titled A Traveler’s Needs.
Last month, at the Berlin film festival, that movie received the Silver Bear award. Despite her busy schedule, Huppert managed to make a 24-hour trip to “complete all necessary tasks”. She speaks highly of Sang-soo’s simplistic style, saying, “He is truly unique. Our last two collaborations involved a small team of six or seven people, but now it’s just three. He handles everything on his own – the camera, lighting. To me, he is like a little genius. His films use a very refined and intelligent language. They are meticulously planned, not improvised. We rehearse and carefully craft each scene in just 10 days.”
She is always reluctant to rule anything out. Even Marvel, I ask? She smiles broadly again. “I would love to! I’d love to do a genre film. It must be nice maybe to be the villain – a real villain, not the villain in most of the films I do, who have a good reason to be a villain. I never get to play a pure villain.”
Huppert’s impressive range of roles is attributed to her open-mindedness and willingness to take on any challenge. Her consistent work ethic, as demonstrated in her humorous cameo on the show Dix pour cent, where she portrays a French actress juggling both an American film and a French historical drama, showcases her dedication to her craft. When asked about the exaggerated portrayal, she responds with a slight raise of the eyebrows, admitting her complicity in making it more humorous by exaggerating the truth, although she acknowledges that it does hold some truth at times.
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Again, she chuckles and snuggles deeper into the corner of the couch. She is wearing a delicate pink sweater from Balenciaga, for which she serves as a brand representative. Her outfit is completed by black pants and glossy sneakers. She has on silver earrings but minimal makeup, giving her a delicate yet stunning appearance. Director Claire Denis once likened her to a “twig made of iron,” capturing her graceful fragility and fierce determination.
At the age of 71, she continues to work tirelessly and her attitude is truly admirable. Charles Chemin, associate director of Mary Said What She Said, believes that she puts many younger actors to shame with her dedication. He describes her as relentless and determined, always getting to the bottom of things. Isabelle also possesses a remarkable openness of mind and sense of freedom on set. Despite her fame, she gives so much of herself with incredible precision for many hours.
Huppert herself rejects the idea that her job is anything out of the ordinary. She explains, “I don’t really feel like I’m working, that’s the main point. Of course, it is work. But work means something very different for many people. Unfortunately, work can sometimes be about just surviving, it can be challenging. There are people who spend their entire lives doing something they truly dislike, and in those cases, they may mentally escape to focus on something else. But for me, I am incredibly fortunate to have the privilege of doing something I am passionate about. That’s why I can’t refer to it as work. It’s something else entirely.”
It is evident that there is little separation between her work and personal life. While she does not openly discuss her family, she has been in a relationship with director and producer Ronald Chammah for 40 years, making their involvement in the film industry a sort of family affair. Her daughter, Lolita, has also pursued acting and even acted alongside her mother. Her two sons, Lorenzo and Angelo, are also involved in the film industry, with Lorenzo running a cinema in Paris and Angelo beginning to explore production. When she is not working, Huppert enjoys attending theatre and dance performances, stating that she is a curious and avid audience member.
When I inquire about her methods for unwinding, she appears to struggle with comprehending the question despite being proficient in English. She explains, “I’ve never really thought of life as separated into moments of relaxation and non-relaxation. Sometimes doing nothing can be unrelaxing, and other times working intensively can be quite relaxing. That’s just how I see it.”
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The female characters portrayed by Huppert on stage and screen are diverse and always display a strong sense of agency. She defies the Bechdel test, which evaluates the representation of women in film, theatre, or literature by whether they solely discuss men. In her roles as Madame Bovary in Claude Chabrol’s film adaptation of Flaubert, a woman with sadomasochistic desires in Michael Haneke’s The Piano Teacher, and a rape survivor seeking retribution in Paul Verhoeven’s Elle which earned her an Academy Award nomination, Huppert is drawn to intricate, authoritative, and challenging characters. With a total of 154 acting credits according to IMDb, she never fails to make an impact, even in supporting roles.
“When I made the decision, I was fully aware of it,” she explains. “However, it wasn’t entirely my decision as I was never given the option to be the supportive woman behind a man, or the one who brings value to a man. That role requires a specific type of woman, which I am not. Therefore, taking the lead was the only suitable position for me, and I was content with that.”
Is it considered a feminist gesture in her eyes? “Yes, but more for personal gain rather than making a political statement,” she reflects. “While it may be seen as feminist to have the female character in the lead role, I believe true feminist activism should strive for greater goals such as equal pay and opportunities for women and better treatment of women in various situations.”
She advocates for these events to occur and offers her encouragement to women who are fighting against abuse. This issue has recently gained attention in France, particularly in the film industry. However, she emphasizes that this is a problem that exists in all aspects of women’s lives. She believes that the increasing protection for women in the workplace and in all areas of the world is positive. She is pleased with the progression towards safeguarding women from aggression and other harmful experiences.
She seems to be hesitant about labeling herself as an activist in any form. Her actions seem more focused on her personal beliefs rather than a group effort, and revolve around representing women on screen who are often battling to reach a certain goal. A notable example of this was her portrayal of the character Maureen Kearney in La Syndicaliste, a film based on the real-life story of a union leader who faced accusations of lying about being sexually assaulted after speaking out about China’s role in the French nuclear industry.
The movie portrays Kearney as not acting as society expects women to act after being assaulted. Huppert’s portrayal of her is filled with powerful, quiet grace. This role, like many others, demands her to be vulnerable in both her emotions and body. Her ability to convey emotion beneath a mysterious exterior is what makes her performances so compelling.
I propose that she must possess courage to confront portrayals of sexual violence and brutality, as seen in La syndicaliste and Elle. “I never see myself as acting fearlessly,” she explains. “Or that it involves a certain level of anxiety. I have confidence in cinema as a whole. It shields you from fear, from all the unnecessary worries that people assume come with making a film like this.”
“When working on a film with directors such as Michael Haneke or Paul Verhoeven, I have complete trust in their abilities, which gives me confidence. I feel secure and competent in my role. While viewers may see the actors as vulnerable due to the nature of the film, it is ultimately the film itself, not the actors, driving the story.”
The boundaries between her work on screen and in the theatre are blurred; they merge together seamlessly. She doesn’t see them as separate entities or with contrasting elements. In the past, the main distinction would have been the need to project one’s voice on stage, but now even that is not necessary without microphones. She imitates throwing her voice into the room to demonstrate. The dynamic between the audience and the performer has also evolved.
Huppert’s extensive career has given her a unique perspective, surrounded by a halo of glamorous boldness. She first experienced Robert Wilson’s work in 1972 at a festival in Shiraz, Iran under unusual circumstances. The festival featured a performance of Stockhausen in the ruins of Persepolis. Accompanied by a small theatre company, Huppert was captivated by the seven-day performance of Wilson’s Ka Mountain and Guardenia Terrace. She recalls being in awe as they watched the performers slowly cross the stage in a dream-like manner, surrounded by animals. It was a truly incredible experience for her.
Several years later, she encountered Wilson at a soirée hosted by Pierre Bergé, Yves St Laurent’s enduring business associate. “I was not keen on attending, I was exhausted. However, if I had not attended that small dinner that night, I would have never crossed paths with him.”
Reworded: She is delighted to bring Wilson’s work to London, as it is not often showcased there. Both the city and Mary, Queen of Scots hold special memories for her, as she spent nine months there in 1996. During that time, she played Mary Stuart in Schiller’s adaptation where he imagined a meeting between the Scottish queen and her rival, Elizabeth I, before Mary’s execution by Elizabeth’s order in 1587. She fondly remembers working with Anna Massey as Elizabeth I and Tim Pigott-Smith, as well as seeing Ben Miles, whom she hadn’t seen since his youth, in The Lehman Trilogy a few years ago.
Reworded: This marked Huppert’s debut in a significant English stage production. “It was challenging. Theatre is always challenging, no matter what, it’s quite daunting. But performing at the National Theatre in English? You have to be incredibly brave. However, I am happy I took the chance. It was a valuable experience. I adore being in London.”
Seven years ago, she was at the Barbican for the last time, in Krzysztof Warlikowski’s daring staging of Phaedra(s), which told three different versions of the story of the queen who was infatuated with her stepson. She mentions, “It’s always delightful when there are connections between England and France.” Then she reveals, “However, I have yet to make a movie in England. It is one of the few European countries where I have not had the opportunity to work.” When asked if she would like to, she responds with enthusiasm, “Yes, absolutely, because there are talented individuals like Joanna Hogg and Andrea Arnold, both exceptional female directors.”
At this point, Huppert is comfortably settled in and seems as though she could speak endlessly. However, as night approaches and the stage beckons, she must once again give her all. Huppert explains, “The stage brings a level of excitement that provides me with all the necessary energy. When I step onto the stage, it’s as if I have electrical currents running through my body and mind.” Her passion for acting is woven into every part of her being, which may explain why she is always in a constant state of motion and rarely takes time to relax. She simply has an insatiable desire to perform.
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“Mary Said What She Said” will be showing at the Barbican theatre in London from May 10th-12th.
Guy Lodge selected noteworthy Isabelle Huppert movies for a film showcase.
The Lacemaker (1977)
At the age of 24, Huppert became a prominent actress (and received a Bafta) in this subtle examination of a character. She portrays a reserved, innocent young woman who is pushed to insanity by her initial romantic relationship. Fans of Huppert’s stern performances in her later work might be surprised by her gentle fragility in this role.
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Story of Women (1988)
Huppert worked on seven movies with director Claude Chabrol, earning her a César award for La Cérémonie, a Cannes award for Violette Nozière, and a Venice prize for her best performance in this film. She portrays real-life abortionist Marie-Louise Giraud, who was executed in 1943 for helping women, with a strong and emotionally powerful performance.
The Piano Teacher (2001)
Huppert joined the elite group of two-time Cannes best actress winners with her fearless performance in Michael Haneke’s scarring psychodrama. As a sexually repressed conservatory professor entering a sadomasochistic relationship with a much younger student, she revitalised her career on bold new terms.
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Things to Come (2016)
Huppert’s exceptional year saw her portraying a philosophy instructor dealing with unexpected divorce in Mia Hansen-Løve’s carefully crafted depiction of finding freedom in middle age. In her more recent roles, the actress has rarely portrayed such a relatable character on screen; her subtle performance strikes a deep chord.
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Elle (2016)
Just a few months after Things to Come, Huppert returned to controversial territory in Paul Verhoeven’s intense psychological thriller. She portrays a rape survivor who engages in a disturbing game of cat-and-mouse with her attacker. This role showcases Huppert’s signature blend of complex psychological depth and biting humor, and finally earned her an Oscar nomination.
Source: theguardian.com
