"Love My Tender" premiered in unscrupulous sight, following a lawyer-turned writer who lost custody of his son after coming out. Director Anna Cazenave Cambet adapted the struggled film from the autobiographical novel by writer Constance Debré, which tells the years-long war of custody that then subsequently took place - a period when it was often legally prohibited from seeing her children.

After reading the book and script throughout the day, Vicky Krieps caught up with the role – setting the actor up for the most challenging shoot of her career.

type On May 20, she spoke with Krieps before her film was premiered worldwide.

What attracted your character?

The movie rejects simple slogans, so I see honesty in books and in books. Honestly, I mean to be honest, even if it's uncomfortable. There is no simple answer or pardon in this movie. This character is not a hero. She is flawed, complex and real. She could have written while she was lesbian fashion icon, but that didn't work. she yes To some, she is just a mother, and she has two parts of herself. Honesty makes her stand out.

Are you also more honest with your role?

I don't know what this movie will become. I've never really done it-I prefer to jump into the unknown. But this shocked me. In two weeks, I almost got physically ill. I dug out something life and pain. We live in a world where honesty doesn’t always open doors, and it’s painful. The character says, “I don’t want money or a legal career – I just want to live an honest life as a writer.” That’s why society punishes her. Not only to be lesbian, but to come out of the system - we really don't allow it.

Do you feel your life?

I made independent films, which was already hard in the shallow world. But this project shocked me the most profound thing about being a mother. The fear of losing a child is devastating. I have never had a story about my character, but I have always doubted it. As a single mother trying to survive without going the business route, I asked myself, "Why do I do this? Sometimes I feel judged for it. In German, there is a word - ungeschützt - that can be exposed. I know that feels good. Society still doesn't understand what it takes to raise two kids alone and continue to make art. I feel pain when I play with her - so intense that I thought I might dissolve.

how so?

This movie pushed me to the limit. I didn't break down, but I hit the wall. There are two more movies like this that I will have serious trouble. My body collapsed and my muscles were sore for no reason. I'm in a state of exhaustion. I couldn't move my arms or legs around Christmas. I don't know if it's physically or mentally, but my body is just closed and it takes me two months to recover. I wish I could finally let go of the movie because it brought little catharsis. However, that's why I'm so grateful to Cannes. It's one of the smallest, toughest movies I've ever made, and Cannes provides it with a platform that means everything. These movies need support to survive.

In addition to the emotional component, this is also a very physical character.

People think actors have a lot of time to prepare, learn to swim or anything else. Then you arrive, no time, no money, and suddenly I have to jump into the pool, like I am a great swimmer. I did swim, but still. That's a performance. Same as intimate relationships. I'm not a lesbian, I'm not used to being a woman's body like that. Something I have to open to myself. I remember thinking - how do I connect with this body? How do I connect with my breasts in a way that is honorable, honest, respectful and read as real? I told myself, "This is just skin, that's just another person." Little by little, it became real.

That's why I mean hitting a wall. I've explored what I need to explore. Now, I want to do easier work. I turned down heavy projects-I can't go there anymore. I'm looking for comedy.

Are you good?

I have two. First, it is a comedy inspired by Dostoevsky's "idiot". Then there is “Selma” written by my long-time friend Govinda Van Maele. We started making horror movies together at the age of 15 and also did “Gutland”. In "Thelma", I play a woman who returns to Luxembourg after a career in German television failed. She moved into her late aunt's house and joined a quirky theatre club that claimed to use secret techniques, but it was a method, even though they didn't know. It's really fun and sweet. I'm so glad to be in Luxembourg again!

You also perform in French, German and English. You like mixed languages.

That is my strength, that is the future. Whether we like it or not, the world is becoming more and more international. My child learns Duolingo's language in two months. I have always regarded language switches as a kind of superpower. It made me brush the marks off. When I started in Germany, people recognized me. Then I moved to the French movie - Comfort, I'm a new face. Then, the "Phantom Thread" happened and people asked again, "Who is she?" Switching languages ​​prevented people from pinning me.

Is this important to you?

Very. My biggest fear is being trapped or nailed. My inner need for freedom is my role. This comes from my grandfather, who survived the concentration camp. I have carried this knowledge since I was four years old. The thought of being locked scares me.