![]() “It’s all a bit too much together.” Huppert is famously prolific she regularly makes upward of three films a year, with a catalogue of a hundred and fifty-plus credits over a career that has spanned more than five decades. “Actually, I have another theatre piece I am preparing for next spring, with the Italian director Romeo Castellucci,” she told me, slightly sheepishly. ![]() On weekends, she had been shuttling back to Paris to prepare for her forthcoming appearance onstage in Stockholm, as Mary Stuart in Robert Wilson’s production of “Mary Said What She Said”-a revival of a play she first performed in Paris, in 2019, and which she will also be taking to the Barbican, in London, in the spring. Huppert had spent little time in Bordeaux before arriving to make this film, and had enjoyed hardly any downtime since. “It’s a story about two women whose husbands are in jail, and we come from two different social backgrounds, and we become friends,” Huppert had explained, in fluent English, earlier in the morning when I met her in her trailer on set. She was co-starring with Hafsia Herzi, a French actress of Tunisian and Algerian descent. ![]() (She has won twice, most recently for the lead role in Paul Verhoeven’s “ Elle,” as a rape victim who develops a consensual sexual relationship with her assailant.) In Mazuy’s new film, tentatively titled “Portraits Trompeurs,” Huppert was cast not as a noble but as a contemporary bourgeois woman. She was nominated for a César Award, the French equivalent of an Oscar-one of sixteen such nominations since her first, in 1976. She and Mazuy first worked together almost a quarter of a century ago, on “Saint-Cyr,” a period drama in which Huppert plays Madame de Maintenon, the secret wife of King Louis XIV. Huppert, who is perhaps France’s most celebrated actor on the stage and the screen, had been based in Bordeaux for about seven weeks, shooting a movie with the director Patricia Mazuy. When Isabelle Huppert’s car pulled up outside around noon on a recent Monday, she gasped with surprise at the splendor, and hastened toward the entrance to explore. Opened in 2016 at a cost of eighty million euros, the building has a dazzling exterior, with a tower of what looks like swirling green-gold glass rising above a gleaming coil. Just north of the city center of Bordeaux, on the bank of the wide, sluggish Garonne River, lies the Cité du Vin, a spectacular museum dedicated to the global history of wine.
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