Isabelle Huppert is a force of nature. Two days before we meet, she has arrived in Stockholm from New York via Paris. Two hours after she touched down, she was on stage rehearsing. The next evening, she opened in Mary Said What She Said, an extraordinary one-woman portrait of Mary Stuart, Queen of Scots. Then she walked back to her hotel in high heels, through five inches of snow.
Currently, she is seated across from me at a vacant rooftop bar exclusively meant for our discussion. Sipping on a citron pressé, she appears fatigued upon her arrival, but quickly eases into a state of relaxation as the Scandinavian sunlight fades away in the early afternoon. Her facial expression is lively and animated.
The initial evening was filled with nerves. “It’s always a bit of an upheaval,” she chuckles softly. “Theatre is such a unique environment. It’s so challenging. You’re by yourself – in this scenario – facing hundreds of individuals, and yet you do it. It transitions from terror to magnificence. The magnificence comes quite swiftly, but the beginning is always almost terrifying. On an opening night, the terror is even more heightened.”
Her portrayal in Mary Said What She Said, a one-person act created by Darryl Pinckney and guided by the experienced American experimentalist Robert Wilson, is remarkable regardless of her emotions. Within 90 minutes on stage, she executes a combination of ritual and intricate traditional dancing, complemented by Pinckney’s eloquent dialogue, captivating the crowd with her stylized gestures and occasional pauses.
The production does not focus on telling the tragic tale of Mary, Queen of Scots, although the audience will leave with a general understanding of it. Instead, it conjures her essence. I was surprised at the physicality of the piece, considering it was created by Wilson who is known for his striking imagery and slow pacing. “I wasn’t expecting it either,” Huppert replies with a soft smile. “Even though I am alone on stage, I do not feel lonely because I am mentally, emotionally, and spiritually surrounded by all the characters I am interacting with. And of course, with the dancing and the various levels of voices, my mind is constantly occupied.”
She chuckles. This marks her third time working with Wilson, having previously performed in the monologue Orlando and Quartett, a reinterpretation of Les Liaisons Dangereuses with four actors. She praises Wilson as a brilliant and innovative theater artist, with complete control over his vision. Despite the precise nature of his direction, she feels liberated in following his requests.
Huppert’s way of working involves finding a director she respects and relies on, and fully dedicating herself to their vision, both in film and on stage. She immerses herself in the director’s creation, saying, “There are endless boundaries within each unique piece and filmmaker.” While she follows this approach, she also maintains the ability to bring something new and distinct to every project.
Due to her intense dedication to her work, she has been featured in Florian Zeller’s The Mother, The Glass Menagerie (directed by Ivo Van Hove) in Amsterdam, and The Cherry Orchard directed by Tiago Rodrigues in Avignon. Before heading to the Barbican, she will also be performing in a new production of Racine’s Bérénice in Paris, directed by Romeo Castellucci, where she will be the sole speaking character on stage.
In various films over the same time period, she has portrayed the haughty gatekeeper of a fashion house in “Mrs Harris Goes to Paris”, a trade union official who is sexually assaulted and not believed in “The Sitting Duck” (known as “La Syndicaliste” in French), and a peculiar silent film actress with a ruby-colored wig in François Ozon’s comical “The Crime is Mine.” Currently, she has just wrapped up filming her second collaboration with French director Patricia Mazuy, called “Les prisonnières,” in which she plays the wife of a prisoner. She has also finished shooting “A Traveler’s Needs,” her third project with the innovative Korean director Hong Sang-soo.
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The movie received the Silver Bear award during the recent Berlin film festival. Despite her busy schedule, Huppert managed to make a brief 24-hour appearance to complete her obligations. She praises Sang-soo’s minimalistic approach and refers to him as a “special” filmmaker. Their past two collaborations involved only six or seven people, but this time it was reduced to a team of three. Sang-soo takes on multiple roles, including handling the camera and lighting, which impresses Huppert and earns him the title of a “little genius”. His films are known for their sophisticated and intelligent language and are meticulously planned and rehearsed within a short span of 10 days instead of being improvised.
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 career is incredibly diverse thanks to her willingness to try anything. This, along with her consistently busy schedule, was comically portrayed in an episode of Dix pour cent (Call My Agent!) where she portrayed a French talent agency’s workings. In the episode, she was shown working on an American film during the day and a French historical drama at night, all while squeezing in interviews. “That was slightly exaggerated,” she admits with a raised eyebrow. “We exaggerated it for humor, but it’s also sometimes true.”
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She giggles once more and snuggles deeper into the couch’s corner. She’s wearing a pale pink sweater from the brand Balenciaga, for which she is a brand ambassador. She has on black pants and shiny sneakers, along with subtle silver earrings and minimal makeup. She has a delicate yet stunning appearance, with director Claire Denis once likening her to a “twig made of iron,” capturing her elegant fragility and determination.
At 71 years old, she continues to work tirelessly and shows no signs of stopping. It’s not just her workload, but also her attitude that is truly impressive. Charles Chemin, the associate director of Mary Said What She Said, admires her dedication and believes it surpasses that of many younger actors. He states, “Isabelle is relentless. She never gives up; she delves to the very core of her work. Her mind is open and she exudes a sense of freedom. It’s incredible to collaborate with someone who has such a strong presence and fame, yet still gives so much with precise attention for hours on end.”
Huppert herself rejects the idea that what she does is extraordinary. She states, “I don’t think I am working, that’s the main point.” She acknowledges that it technically qualifies as work, but notes that work can have various meanings for different individuals. For some, work may involve struggling to survive or enduring hardship. In those cases, the mind may shift to other thoughts as a coping mechanism. However, Huppert considers herself fortunate to have the opportunity to do something she truly enjoys. Therefore, she doesn’t view it as work in the traditional sense, but rather something distinct.
It is evident that her personal and professional lives merge together. Although she does not openly discuss her family, she has been in a relationship with director and producer Ronald Chammah for 40 years, and the film industry seems to run in the family. Her daughter, Lolita, is an actress who has shared the screen with her. One of her sons, Lorenzo, manages an independent cinema in Paris, while the other, Angelo, is exploring the field of producing. When Huppert is not working, she enjoys watching theatre and dance performances. She describes herself as a keen audience member with a strong sense of curiosity, always seeking to see as much as possible.
When I inquire about her downtime activities, she appears to struggle with understanding the question, despite her proficiency in English. In her view, life does not have clear boundaries between relaxation and work. Engaging in leisure activities may not always be truly relaxing, while working diligently can bring a sense of relaxation. This is her perspective.
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The female characters portrayed by Huppert on stage and screen may have different identities, but they are always portrayed as strong and independent. She defies the Bechdel test, which measures if women in film, theater, or literature only talk about men. From her role as Madame Bovary in Claude Chabrol’s adaptation of Flaubert’s novel, to a woman with masochistic desires in Michael Haneke’s The Piano Teacher, and her Oscar-nominated performance as a rape survivor seeking revenge in Paul Verhoeven’s Elle, Huppert is drawn to complex, powerful, and challenging characters. With over 154 film credits listed on IMDb, she never fails to make an impact, even in supporting roles.
“It was a deliberate decision from the start,” she explains. “However, I also didn’t have much of a choice, as I was never given the option to be the woman who supports the man or gives him worth. You have to fit a certain mold to fulfill that role, and that wasn’t me. So, in a sense, I only had the option to take the leading role, which I was okay with.”
Is this considered a feminist action by her? “Yes, though it is more self-serving and less of a political statement,” she replies, reflecting on the topic. “While it is certainly a feminist act to give the main role to a female character in a film, I believe a true feminist statement would strive for larger goals, such as equal pay and job opportunities for women, and better treatment of women in various circumstances.”
She advocates for these changes to occur and supports women who are standing against abuse, both in the film industry (which has been a prominent issue in France recently) and in their personal lives. She believes that it’s important for women to be protected not just in their work, but in all aspects of their lives globally. She sees this as a positive development and encourages continued efforts to prevent aggressions and other harmful instances for women.
She is hesitant to identify herself as an advocate in any form. Her impact seems more personal than group-oriented and is linked to the female characters she portrays on screen, who often strive for a goal. In her latest film, La Syndicaliste, which is based on the real-life story of Maureen Kearney – a labor leader who faced accusations of fabricating a violent sexual assault allegation after publicly addressing China’s role in the French nuclear industry – serves as an example.
One of the challenges for Kearney in the movie is that she does not conform to societal expectations for how a woman should act after being assaulted. This is highlighted by Huppert’s portrayal of her with a powerful, silent poise. Similar to her other roles, this one also demands emotional and physical vulnerability. Her talent for conveying emotions beneath a mysterious exterior is what adds an eerie quality to her performances.
She should have fearlessness in facing the depictions of sexual violence and brutality in her films, La syndicaliste and Elle. When asked about her approach, she says, “I don’t consider it fearlessness. Cinema in general provides a lot of protection. It allows you to escape fear and all the unnecessary stress that comes with making a movie like this.”
When collaborating on a film with directors like Michael Haneke or Paul Verhoeven, I have a deep level of trust in them that allows me to feel confident and safe. I am fully aware and in control of my actions. While viewers may perceive the actors as vulnerable due to the film’s subject matter, this is simply a part of the storyline and does not reflect on my personal experience on the film set.
She sees no difference between her performances on screen and on stage; they merge together seamlessly. She explains, “I don’t choose to do theatre because I can find something in film that I can’t find in theatre. To me, they are not opposites. The distinctions between stage acting and film acting have disappeared. In the past, the main difference was projecting your voice, but now, even without microphones, that’s no longer necessary.” She demonstrates by pretending to project her voice into the room. “The entire dynamic between the audience and the performer has evolved.”
Huppert’s extensive career allows her to have a unique perspective. She is surrounded by a captivating aura of adventure. One notable experience was encountering Robert Wilson’s work under unconventional circumstances at a festival in Shiraz, Iran in 1972. The festival included a performance by Stockhausen in the ancient ruins of Persepolis. Huppert was attending with a small theatre company and after their own performance, they watched Wilson’s Ka Mountain and Guardenia Terrace, which lasted for seven days. Huppert recalls being in awe as they watched the slow and dreamy movements of performers and animals on top of a hill. The experience was simply extraordinary.
Several years afterwards, she encountered Wilson at a social event hosted by Pierre Bergé, Yves St Laurent’s enduringly loyal business associate. “I was feeling quite exhausted and didn’t really want to attend. Yet, had I not attended that intimate dinner that night, our paths would have never crossed.”
She is especially content to bring Wilson’s work to London, as it is not often showcased there. The city holds fond memories for her, as she spent nine months there in 1996 while performing as Mary Stuart at the National Theatre. The play was Schiller’s version of her story, which includes a fictional encounter between Mary and her rival, Elizabeth I, before Mary’s execution at Elizabeth’s order in 1587. She recalls, “I was acting alongside the lovely Anna Massey [as Elizabeth I] and Tim Pigott-Smith.” She also mentions seeing Ben Miles, whom she remembers from his performance in The Lehman Trilogy a few years ago, in a small role. She couldn’t believe how much he had grown since their last encounter.
Huppert’s initial significant English-speaking stage performance was at the National Theatre. It was a challenging endeavor, as the world of theatre is always daunting, but particularly so in a different language. One must possess great bravery to take on such a production, but ultimately I am grateful for the experience. Being in London was a wonderful experience.
More than seven years ago, she visited the Barbican for the last time, when she appeared in Krzysztof Warlikowski’s unconventional interpretation of Phaedra(s), featuring different plays about the legendary queen who developed feelings for her stepson. “It’s always a pleasure when England and France are connected in some way,” she remarks, before adding, “However, I have yet to film a movie in England. It’s one of the few European countries I haven’t had the opportunity to work in.” When asked if she would like to do so, she enthusiastically responds, “Definitely, especially because there are amazing female directors like Joanna Hogg and Andrea Arnold.”
At this point, Huppert is comfortable and it seems like she could continue talking endlessly. However, it is starting to get dark and it is time for her to return to the stage and give her all once more. “Being on stage gives you a level of excitement that fuels all the energy you need. When you step onto the stage, you feel like you have electricity running through your body and mind.” Huppert exudes electrifying energy in every aspect of her being, which is why she never truly relaxes. Acting is her passion and she always wants to be performing.
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Mary Said What She Said is at the Barbican theatre, London, 10-12 May
Selected by Guy Lodge, these are the standout movies featuring Isabelle Huppert.
The Lacemaker (1977)
At the age of 24, Huppert quickly rose to fame as the main female actress (and received a Bafta award) in a gentle exploration of character, portraying a shy and innocent young woman who is consumed by madness due to her first romantic relationship. Those who know Huppert for her more stern roles in her later career may be surprised by her gentle fragility in this performance.
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Story of Women (1988)
Huppert’s collaboration with director Claude Chabrol spanned seven films, winning her a César for La Cérémonie, a Cannes award for Violette Nozière, and a Venice prize for this, the best of them: playing real-life abortionist Marie-Louise Giraud, guillotined in 1943 for her services to women, she’s steely and shattering.
The Piano Teacher (2001)
Huppert became part of the select group of actresses who have won the Cannes best actress award twice, thanks to her bold and fearless portrayal in Michael Haneke’s intense psychological drama. In the film, she plays a conservatory professor with repressed sexual desires who embarks on a sadomasochistic relationship with a much younger student, breathing new life into her career with a daring new role.
Things to Come (2016)
Huppert had a remarkable year starting with her delightfully humorous and vulnerable role as a philosophy instructor caught off guard by her divorce in Mia Hansen-Løve’s beautifully depicted tale of finding freedom in middle age. In her more recent work, the actress has seldom appeared as effortlessly relatable on screen; her subtle performance is impactful nonetheless.
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Elle (2016)
A few months later, following her role in Things to Come, Huppert returned to controversial territory in Paul Verhoeven’s intense psychological thriller. She portrayed a rape survivor who engages in a twisted game of cat-and-mouse with her attacker. This role may be considered representative of Huppert’s career, as it combines complex psychological exploration with sharp humor, and it ultimately earned her her first Oscar nomination.
Source: theguardian.com
