Following Corsage, Austrian filmmaker Marie Kreutzer returns with Gentle Monster, a powerful and unsettling drama about trust, betrayal, and the devastating consequences of a shocking accusation. The film follows Lucy (Léa Seydoux), a successful concert pianist who moves to the countryside with her husband Philip (Laurence Rupp) and their young son Johnny (Malo Blanchet). However, their fresh start takes a horrifying turn when the police arrive at their home and accuse Philip of possessing child sexual abuse material. As Lucy struggles to make sense of the allegations, she must confront the possibility that the man she loves isn’t who she thought he was.
Following its premiere at the Cannes Film Festival this year, Gentle Monster screened at the BFI London Film Festival, where Geek Vibes Nation had the opportunity to speak with writer-director Marie Kreutzer, lead actress Léa Seydoux (One Fine Morning), and producer Alexander Glehr (Angelo). They discussed the importance of bringing such a difficult subject to the screen, the challenges of working across multiple languages, the creative process behind the film, and why they hope it will encourage audiences to have important conversations.
Writer/director Marie Kreutzer: “I always look for actors who are open to being vulnerable and very much in the moment.”
Geek Vibes Nation: Congratulations on the film. It’s incredibly emotional, but also important. How did you turn the newspaper article this movie is based on into a full screenplay?
Marie Kreutzer: I studied screenwriting, so that’s what I do. I start with an idea for a plot and then research it. I always try to learn as much as possible about the subject, even if I later leave some of that information out. If you’re telling a story about a particular profession, for example, it helps to understand how people in that field work and speak. Research is also very inspiring; it generates a lot of ideas.
That’s how I approached this film. I had the basic plot quite early on. My initial thought was: “What would it be like if the police came to my door and took my husband’s hard drives because he was accused of possessing deeply disturbing material?” That question became the starting point for the film’s story.
GVN: Given how difficult the subject matter is, can you switch off after a day of writing, or does the project stay with you?
MK: When I’m working on a project, it’s with me all the time. I’m constantly having ideas and thoughts, but that sounds worse than it is. I’m not always thinking about the disturbing or dramatic aspects. Making a film is more about collecting moments and moving from one moment to the next, rather than constantly thinking about the subject matter as a whole.
GVN: What were you looking for when casting the lead role as Léa is extraordinary in the film?
MK: I always look for actors who are willing to be vulnerable and completely present in the moment. They can’t be focused on delivering a great performance or looking good. They need to trust me, the camera and the other actors. That sounds simple, but not everyone can do it.
Léa is extremely good at letting go of her preparation once the camera starts rolling. She engages with the other actors, improvises, tries different things and doesn’t cling to the ideas she had when she first read the script. That openness is what I look for. For this film, I also wanted someone with an interest in music or some musical ability. Léa loves singing, but she had never sung in a film before, so that was exciting for both of us.
GVN: How did you approach directing a film in several languages?
MK: It was important that the languages were ones I could speak or at least understand. I once directed a scene in Hungarian for another film, and that was really difficult. But I’d actually recommend that young directors try directing a scene in a language they don’t understand, because it teaches you that it isn’t really about the words. It’s about what lies beneath them.
GVN: How did you create a safe environment for the young actor playing the couple’s son?
MK: We had a very strict child-protection program and a fantastic child-protection officer and coach, who has worked with me on other films. We also stayed in close contact with his parents and checked in with them regularly. Malo is passionate about acting. He’s the youngest of four children, and they’re all very creative. Acting is something he genuinely wants to do, rather than something his parents are pushing him toward. They support his interest, and I think we were able to make it a positive and enjoyable experience for him.
GVN: Alongside Léa’s character, the police officer [portrayed by Jella Haase] is another strong female character. How important was it to make that role a woman?
MK: To be honest, that police officer was always a woman in my mind. What mattered was having her perspective alongside Lucy’s. For Lucy, the case turns her whole world upside down. For Elsa, it’s one of many cases she deals with, and not even one of the worst. That contrast helps establish the scale of the wider problem.
Actress Léa Seydoux: “For me, cinema is a universal language.”
GVN: Welcome to London, and congratulations on the film. How important was it for you to tell this story?
Léa Seydoux: It’s a story that needs to be heard by even more people, so I’m happy Netflix acquired the film. I hope people will see it. I think it’s an incredibly important subject, and the films I make are my commitments. I’m proud of the subject matter, and also of the subtlety, complexity and intelligence Marie brought to it. It’s rare to find a project like this. I hope it reaches a wide audience and opens up conversations.
GVN: What was it like working across three languages?
LS: I love working in different languages and stepping outside my comfort zone. I grew up in Paris, but being able to travel, meet people and work with an Austrian director is wonderful. I love European cinema, and for me, cinema is a universal language. For this film, I had to learn German, and I hope I’ll have the opportunity to make more films in German.
Producer Alexander Glehr: “What Matters Most Is That People Watch The Film And Discuss It”
GVN: Congratulations on the film. What made you want to produce this particular script?
Alexander Glehr: I wouldn’t say I chose the script. I chose Marie. We’ve followed her career since her first film, and this is the seventh film we’ve made together. It’s a gift to work with her and grow alongside her, and it’s exciting to experience the response to this film together.
GVN: What makes Marie such a distinctive director?
AG: She has a very special approach and a gift for creating multilayered characters. Her films always have something important to say, and she communicates it intelligently. I love the layers and ambiguities in her work. She also has an extraordinary style.
GVN: The film screened at Cannes and is now in London. How does it feel to see it reach major international festivals?
AG: It feels unreal. Of course, it’s wonderful to know that thousands, even hundreds of thousands, of people might see something you helped make. I appreciate the red carpets, but what matters most is that people watch the film and discuss it. The film raises questions, and if audiences engage with those questions, that’s a success.
GVN: And the film is also heading to Netflix.
AG: Yes, Netflix has been a great partner, and we’ve sold the film around the world. There are wonderful partners involved, and it’s exciting to see it reach so many people.
GVN: Have you already chosen your next project, or are you enjoying this film’s festival run?
AG: Like all producers, we’re always on the hamster wheel. There are plenty of films in development, although not every film reaches this level. We’re working on projects that we hope will achieve something similar, but they’re still in the creative stages, so it’s too early to discuss them.
Gentle Monster will premiere in select theatres on October 30 and on Netflix on November 18.
Freelancer by day. Film journalist by night.
