Interview
Philippe Sfez

1. Hello, Philippe Sfez! To start, could you please introduce yourself briefly and tell us how your multifaceted journey has influenced your work as a filmmaker?

 

Introducing myself briefly is impossible and introducing myself at length would be boring.

 

Ever since I was a child, my imagination has always driven me to tell myself stories.

The fact that I have worked in several professions in the film industry; Acting, stage management, costumes, props, canteen etc., finally allowed me to turn these stories into films and become a director.

2. "Survival" presents a narrative that blends surrealistic elements and magical realism, tackling complex themes such as homophobic prejudice. How did you balance these aspects in the construction of the film?

 

The balance of these elements was indeed very complex. Especially since the mix of film genres is still very poorly perceived in France. I think that what allowed me to find this precarious balance was to have refined my script.

3. Zak, the protagonist of "Survival," has an unusual passion for insects. How does this peculiarity influence the character's journey and the message you aim to convey?
 

The message I want to convey is that we are all someone's monster. It's human nature. Racism, homophobia, anti-Semitism, mysoginia are the scourges of humanity. I'm not providing any solutions, I'm just forcing the line on human stupidity.

4. In addition to directing "Survival," you also have an extensive career as an actor. How has your experience as a comedian and actor influenced your approach as a filmmaker?
 

It is believed that having been or being an actor makes it easier to direct. Personally, I don't think so. It doesn't help me to direct better, but it probably helps me to love actors a little more.

 

 

 

 

 

 

 

 

 

5. In your opinion, what would be the mortal sin for a horror film director? And why do you believe it's crucial to avoid this in crafting a horror narrative?
 

There are so many subgenres related to horror that I don't have an answer to this question. For me, anything goes, as long as the shiver that runs down your spine is there.

6. As a filmmaker, what are the most challenging aspects of creating a film that addresses social and political issues authentically and impactfully?
 

It's about convincing decision-makers and financiers of the merits of our approach. The vast majority don't see the point or find it cliché. And without money, there's no film.

7. How do you view the role of cinema in contemporary society? Do you believe that films have the power to provoke social change?

Cinema is suffering. It has to fight against major enemies, such as social networks for example. But I think that any work of art has the power to bring about social change or at least to move the lines.

 

 

 

 

 

 

 

 

 

8. What are your main sources of inspiration when creating a new film? Do you draw inspiration from real-life events, works of other filmmakers, or your own imagination?
 

In my imagination, it is enough on its own to invent a story, even if it is constantly bombarded by thousands of cinematic references.

9. How do you handle criticism and feedback about your films? Do you think it's important for filmmaker to listen to different perspectives and opinions about their work?
 

I handle criticism pretty well because I'm the worst critic when it comes to my own films.

But sometimes you have to know not to listen, because everyone has a different opinion.

10. In your opinion, what is the importance of diversity and representation in contemporary cinema? How do you strive to incorporate these values into your own films?
 

Diversity is crucial in movies, and we shouldn't even think about it. In France, for example, it is still necessary to justify the reason why a certain character is Black. I don't see the point at all.

11. What are your plans and future projects as a filmmaker? Is there any specific genre or theme that you're looking forward to exploring in your upcoming works?

 

I'd like to succeed in developing a feature film in the form of a fantastic ecological fable, in the vein of my short film but pushing the sliders even further.