Awarded at Cannes, the European Film Academy Awards, and nominated for the Oscar for Best Actress in a Leading Role (Sentimental Value), Renate Reinsve is currently one of the most acclaimed actresses in the world.

We met her in Norway, her homeland, during the filming of  Fjord, Cristian Mungiu’s first film shot abroad, with a mixed crew, made up of various nationalities. Renate plays Lisbet Gheorghiu, the wife of Mihai Gheorghiu, portrayed by Sebastian Stan.

Renate was deeply convinced by Mungiu’s screenplay, inspired by the real case of the Bodnariu family, whose children were taken by Norway’s child protection services after the parents were accused of child abuse.

In this, her only interview given so far to the Romanian press, Renate talks to Cultura la dubă about her experience working with Cristian Mungiu, and about interacting with the Romanian crew — “Honestly, I think Romanians are among the kindest people I have ever met. They are so nice, even if they argue a lot on set, haha,” Renate says with a smile.

Filming took place in the heart of a Norwegian fjord, in the remote mountains, where the actress recounts strange experiences, staying in a luxury hotel said to be haunted. “I think ghosts are something natural because this is one of the most beautiful places I’ve ever been to, and if I were a ghost, I wouldn’t return to a city. I would come here.”

Fjord will have its world premiere on May 18 in the official competition of the Cannes Film Festival and is one of the most anticipated films of this edition.

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Renate, first of all, tell us, please, how did you meet Cristian Mungiu?

Well, I first heard about this project from a production company I had worked with many times before, called Eye Eye Pictures from Norway. They produced The Worst Person in the World, Sentimental Value, and Armand, in which I acted. Cristian had seen The Worst Person in the World, Armand, and the film I made with Sebastian Stan, A Different Man. I knew he was very inspired by this story from Norway.

He wanted to meet me in the production company office to talk about the role. I read the script, and I think I had to stop reading four times because I was so moved — it’s so painful what these characters went through! And the way Cristian writes probably relates to his past as a journalist.

I think his greatest talent is seeking objectivity within subjectivity. Of course, there is a very emotional story, but his way of always trying to remain faithful to the story’s objectivity and then making it as nuanced as possible is truly impressive.

So, when I read the script, I connected a lot with the entire story, but especially with the character Lisbet. There was actually another role in the script named Mia, which might have suited me better. Lisbet’s role is very atypical—I had never done anything like this before, but still felt a strong connection to her. I didn’t know how to interpret her.

But I think Lisbet came to life during filming because of the script, Cristian’s working method, and the way I work. I didn’t really decide anything. And Cristian doesn’t like to talk about the character’s intentions or judge the characters.

It feels like a different way of working, really.  So I was very surprised by what this character became.

I still haven’t seen the film. But it feels like, maybe for the first time, I don’t really have control over her. She reveals herself in a different voice. She looks very different. She behaves very differently. But I really love her. I really love her. This was actually my second favorite shoot.

What was the first one?

The first was The Worst Person in the World. It will always be at the top of my list. That place was so special, and it was my first lead role in a film, which was magical!

How did you find Cristian Mungiu’s working style on set, with many takes and complex mise-en-scenes?

Yes, it’s very complex. It was a shock for me because, unfortunately, due to scheduling, I started with the most difficult scenes for my character. I hadn’t learned this method yet, so it was a shock. I wish I had more time to understand his method, because you can’t intellectually understand it, you have to truly feel it, learn it bit by bit, and notice subtle signs in his process to know exactly what to do.

It’s impossible for an actor to maintain the character’s truthfulness through so many takes. His way of working is poetic, using physicality on stage, in the mise-en-scène. And he’s skilled in how he does that. I have great respect for how he does it and tries to find the best way.

It takes time to learn to be honest within the framework he builds—not the physical frame, but the structure in which he makes his films.

Were you familiar with some of his films or other Romanian directors’ works before collaborating?

I’ve seen Beyond the Hills, which is, of course, a masterpiece. I haven’t seen them all, but now I’m obviously familiar with his work. It’s very impressive and moving to have the chance to talk with him, understand his filmmaking values, and I’ve learned so much!

I think it will affect my work going forward, absolutely, because the standard is higher now—a very high standard.

You also must trust the story because in this working style, you don’t help the audience or show something specific or help Cristian. It’s truly an attempt to be honest with the situation.

I really like working with strong directors who know exactly what they want. It’s easier to navigate as an actor in that context. I really enjoy working in Europe.

How was working with the other Romanians on the team?

It was amazing. I feel everyone is very connected to Cristian’s vision. Honestly, I think Romanians are some of the kindest people I’ve met. They are so sweet, even if they argue a lot on set, haha. Anyway, I think actors are very protected from conflicts, so I don’t know everything, but I really feel Romanians have big hearts.

Do you think the tone and atmosphere on set come from the director’s manner?

Definitely. Everyone here is influenced by Cristian’s way of being—so generous, kind, welcoming. He truly loves films, truly loves the people on set, and respects them, and the energy he brings influences how we all are together.

We stay together in this special place, see each other all the time, it’s like a camp.

Speaking of this place, did you know it before? Have you traveled here?

No, no, no. Even people who travel a lot in Norway, who I talked to, had never heard of this place. It was impressive for me to discover it too.

But were you aware of the Romanian family’s story, which inspired the film, from Norwegian media? In Romania, it was heavily covered, with street protests.

I’ve heard about it, yes. Some people here have heard of the case, but I wasn’t familiar with the news. Of course, I’ve heard stories about child social services, both the good and the bad. I think the way Cristian uses this story to talk about something more universal draws a line between existential things happening within each of us and how society perceives them. I believe he uses this story to say even more about life and coexistence.

It also highlights how hard it is to truly understand another culture.

We did a lot of research together. Cristian invited us to Romania. I really tried to understand the history that marked Romania, especially Bucharest, where we went.

I tried to get to know these people and learn the language. But even when you try hard and intensely, there will always be parts you will never understand. That’s how conflicts arise in our society.

I think this film will also offer the chance to show how difficult it is to understand our differences, and if you can look at someone kindly, even if they are unknown or scary, you’ll find a better resolution to conflict. It makes you aware of how many prejudices people have—and yourself. It’s so important to be aware of these things.

We witnessed a very sweet scene at the end of a filming day when you and some fellow actresses gave Cristian a gift. He seemed touched. What bird did that sculpture represent and what was the message behind the gift?

It relates to the mystery of this place where we filmed because many of us had experiences here with possible ghosts and strange experiences with birds.

It’s hard to explain. When Cristian first came here, he had his first encounter with this bird, which also represented the first Norwegian word he learned, “skarv,” the name of the bird.

So, we gave him that gift so he could have it with him, take it home, and hang it on his wall.

What about the ghosts here? Are these legends, jokes, or do you really believe in their existence?

I think they are natural because this is one of the most beautiful places I’ve ever been to, and if I were a ghost, I wouldn’t return to a city. I’d come here. If I die, I’d come here. So, I think it’s natural there are many ghosts here. Hahaha.

There are myths and stories about this hotel and who haunts it. Some people claim they’ve actually seen them, even though I don’t believe in that stuff. Still, something happened to me here that I can’t explain.

When things happen, you try to find a logical reason. But things happened here that you can’t explain rationally. I think this whole story contributes to the magical experience of filming.

Your unexplainable experience was it pleasant or scary?

A bit scary, but I don’t think ghosts want to be nasty. I think they are a little cheeky but nice. (she laughs)

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The post INTERVIEW Renate Reinsve: “Working with Cristian Mungiu will affect my future work because the standard is now higher, very high.” appeared first on Cultura la dubă.