PRIX DU JURY - Conférence de presse - Français - Cannes 2026

Hinzugefügt: 2026-05-25

[00:00:00]I need [laughs] to synchronize with the situation. That's putting it mildly, actually.

[00:00:24]And yes, it's for everyone. How do you think I'll fully realize it? I'm going to think about it and continue, and it helped me for this film what I experienced 9 years ago, the first dream adventure, and of course, on top of that, for благодаря [laughs], the Bulgarian-German production, finally a production that won an award, so you were a little bit of a surprise guest at the Palme d'Or ceremony.

[00:01:31]How do you feel about it? That's a big surprise. And what will be the next film you [grunt] will make about Bulgaria with your team?

[00:01:43]You know, I don't care about this prize, this award, it's not just for me, I share it.

[00:01:51]There are so many people [grunt] in Austria, France, Germany, Bulgaria who have worked with me. So I would actually have to take the prize there, the palm, and travel around with it, tour the four countries.

[00:02:10]We still spent 5 years traveling to do the research, me. So it's really like I have an acquisition, a treasure. I would love to make another film in Bulgaria.

[00:02:23]Here again, something borderline in quotation marks because we have heard so many interesting stories to tell and we have a really well-oiled collective to work together.

[00:02:39]Hello Caroline, I work for ARD, the channel.

[00:02:46]What idea made you do what you said on stage, that women find themselves in a permanent state of war, a war that no one could win.

[00:03:02]When I made my last film in Bulgaria, it was [clears throat] clear. I wanted to go back there to make a film.

[00:03:09]My previous western film featured mostly German actors. That's almost it, it's a bit of a cliché.

[00:03:15]But when I was in Bulgaria and when I am in Eastern Europe, I realize how much my cultural knowledge gaps are about Europe and that I often reason. And so I have a view of Europe which is only partial and when I talk to people who were young when the wall fell in '89 I realized how connected we are by what happened and how the experiences we had in different countries separated us, fragmented Europe [grunt] And the echoes of this phenomenon, we hear them, a very, very hard time in Britain for women, a very masculine time, a wartime atmosphere. Others told me that wasn't true. This idea of war and the roles of women and men, it was still quite devastating and it was a good point of connection and then I like micro- masculine cinema, westerns and so on and I like to talk about societies and the two sexes.

[00:04:50]So yes, the film addresses all these subjects, it is these images which are the strong, which are the weak.

[00:05:07]Often there are so many conflicts in a film on this kind of subject, in the end after all this research for the film I felt a resistance to this narrative because people in their daily lives lived a radically different situation and then we encountered so much empathy from them and I also really liked this opposition that we made to this very warlike narrative.

[00:05:54]Congratulations, you are one of the few women to have won this prize. What does it feel like when you are a screenwriter and director? It's magnificent, but I repeat, for me this prize is not just for me. I share with a lot of women I worked with in my film and it goes without saying, it seems obvious, and yet the concept that the film makes was and still emerges from the fly.

[00:07:00]So what I experience does not correspond to what I feel in the public eye. I have one last thing to say. Congratulations. Well done.

[00:07:09][applause] or something forting [laughter] Don't worry not [music]