Girls in the Gang: Laurent Cantet on Foxfire
‘Foxfire’, the story of the gradual deterioration of a feminist group in 1950s America, gave Palme d’Or-winning French director Laurent Cantet a chance to look at the era’s mythology
Taking on The Man: Foxfire
Man on fire: Laurent Cantet speaking at the 2012 Toronto International Film Festival. Photograph: Jemal Countess/Getty Images
When the young actors from Laurent Cantet’s The Class – a rough, naturalistic school drama – were summoned back to the Cannes Film Festival in 2008 they didn’t quite know what to expect. The film had played well at the event. Cantet had established himself with knotty films such as Human Resources and Time Out. But they were in competition with giants such as Clint Eastwood, Steven Soderbergh and the Dardenne brothers.
“They were on their way back to Paris,” Cantet remembers. “They stopped the bus in Lyons and turned around. So they had to wait through the ceremony. The prizes got higher and higher. We never dreamed of the Palme d’Or. We couldn’t imagine that. We thought maybe we would get a joint acting prize or something.”
As things worked out, Cantet’s film did walk away with the top prize at that year’s festival. The director, then 46, was now one of the cinematic Elect. Forget those vulgar Oscars. The Palme d’Or secures your reputation as an auteur. The coronation also puts great pressure on a film-maker. What’s your next trick?
To this point, Cantet was best known for films that examined the politics of the French workplace. Human Resources was set among managers in a bland factory. Time Out dealt with an executive who gets laid off. The Class revealed the working of the schoolroom.
Foxfire, Cantet’s delayed follow-up to The Class, looks like a very different beast indeed. Clocking in at two hours and 20 minutes, the picture, adapted from a novel by Joyce Carol Oates, follows a group of young women as they attempt to forge a life away from the conformity of 1950s America. It’s a fascinating piece. We are never quite sure if the cadre counts as a delinquent gang or a feminist commune. Subversive pranks lead quickly into extreme criminality.
“I don’t really agree with you that the film is so different to my other work,” Cantet says. “The context is very different. But the political aspects are very close to what I am usually doing. I am interested in people who invent ideals to help themselves to live. The way of filming is the same too. I allow the actors as much freedom as possible. In those ways it is similar to my other films.”
This does make a kind of sense. The stakes are, however, much higher for the characters in Foxfire than they are for the heroes of Cantet’s earlier films. What we have here is a study of the way revolutionary cells – the Red Army Faction, the IRA, the Angry Brigade – so often end up betraying their own pure principles. The women form the Foxfire group in opposition to small-town misogyny. But they end up behaving little better than outlaws.
“That really was the main theme of the film,” he says. “When these groups face the hard realities of society they further radicalise their stance. Often they end up killing their ideals. They start with the best intentions and end up as terrorists. This film is about the end of an ideal. In this case, they begin by living under strong feminist ideals. Those crumble when faced with the necessities of life.”