![]() So we included it to show that even her present will soon be a part of her past. In this case, her nostalgia coexists with present day, with the life she’s trying to live. Most of the story is looking backwards, because we have more control over our own nostalgia. It was an exercise that wasn’t too difficult, because I explored this kind of storytelling before in my films “Quantum Love” and “Dalida.” This latest film is the most fluid of them all, the most clear. And that will make us think of something that happened two years ago, or five minutes ago. We might stumble onto a street and all of sudden our minds take us to when we were on that street last, maybe twenty years earlier. I wanted to structure the film to feel like a memory – the progression isn’t entirely chronological because neither is memory. ![]() The film isn’t entirely linear it will sometimes mix in flashbacks without calling too much attention to them, leaving the audience to question what is past and what is present. And that’s a way to ask: What would happen to a society that entrusts all of its memories to technology? There are some dangers in replacing human connection with technology we have to remember that there’s a difference between love and ‘Likes.’ I do show some of its prettier sides, and at the same time, we see the depths of the mother’s despair when she loses her phone – it’s as if she lost all her memories. ![]() No, more sincerely, I see technology as our new kind of memory. ![]() That’s because I know we’ll eventually have to get rid of it, so I’m already nostalgic for the technology we have. The film takes a gentle view of the digital world – it’s not as technologically alarmist as other films tend to be. I saw that you could make a film about all this minutia, all these moments that don’t seem like much at the time but add up to something bigger, and I wanted to explore what they created. The story is quite close to my own, and looks a lot like me… At the outset, I was just filming my family with my iPhone in order to record the moment, and bit-by-bit the beginning of the film took shape. It’s my Cassavetes way of working.ĭid you write the script with her already in mind? Plus I like working in a family setting, working with people that I love, people with whom I’m close. ![]() But it wasn’t the first film we’ve worked on together. Of course! I tore her from her university for the length of the shoot! Look, if I didn’t already know that she was a good actress, I would have never offered her the part. Did you do so just to spend time with her? The film is about a mother who dreads losing touch with her child, and you cast your own daughter as the child. Today, many people slow down their careers to care for their children, and “Sweetheart” was my way to pay tribute to all the invisible daily work of parenting. Parents sometimes feel that what we’re doing isn’t noticed or isn’t having an effect, so I wanted to make a film about all those little things and small moments that reinforce the bonds of family. So that was my way to honor all the women and single parents, as is the case in the film. Azuelos: There was a theme I had never treated, and it’s something that concerns very many people, which is the moment in a parent’s life when their youngest child leaves home. ![]()
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