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trailer and previews of the film by Céline Devaux

From September 22 at the cinema with Notorious Pictures Everybody loves Joandebut in a feature film for director and illustrator Céline Devaux who is directing a casting for the occasion led by Blanche Gardin (Tamara, …

From September 22 at the cinema with Notorious Pictures Everybody loves Joandebut in a feature film for director and illustrator Céline Devaux who is directing a casting for the occasion led by Blanche Gardin (Tamara, A dream team, #IoSonoQui) and Laurent Lafitte (Little lies between friends, Two very special agents, Or mom or dad).

Plot and Cast

The official synopsis: Jeanne (Blanche Gardin) is determined to change the world, so she invents a device to clean the oceans, but during the launch ceremony, Jeanne finds herself in the water to try to recover her invention: After this sensational flop live on TV all her lenders pull out, leaving her bankrupt. To repay her debts, she is forced to sell her family home in Lisbon. As she ponders this difficult decision, she is suddenly joined by “a little ghost with long hair”, who comments on her every move. The little ghost is solitary, funny, sings and dances, and doesn’t hesitate to whisper obscenities in Jeanne’s ear, practically becoming the voice of her conscience that never leaves her.

The cast of “Everybody Loves Jeanne” also includes Laurent Lafitte, Maxence Tual, Nuno Lopes, Jeanne Marthe Keller, Lisa Mirey, Andrew Sanko Logan, Samira Sedira, Patty Hannock, Pedro Lacerda, Elé Asu, Carla Santana Viera, Ana Paula Mota, Fernando Lupach, Lydie Barbara, Isabel Cardoso, Louise Loeb and Léa Mysius.

Everybody loves Jeanne – trailers and videos


  • Cèline Devaux wrote, directed and designed the film with the support of director of photography Olivier Boonjing, editor Gabrielle Stemmer, production designer Artur Pinheiro and costume designer Marine Peyraud.
  • The film is a Franco-Portuguese co-production.
  • Director Céline Devaux directs her first feature film after having directed animated shorts Sunday lunch winner of a Caesar e You will be fine, award-winning in Venice: “The day Vincent Macaigne recorded his voice for Sunday Lunch was a revelation for me! Vincent immediately offered a level of interpretation, joy, creativity and energy that was totally unexpected for a voiceover. After Sunday Lunch, I wanted to make a hybrid film, to mix different types of processes. I was able to talk about pain and love, important themes for me, and I discovered for the first time how to work with actors. I’m glad I got to shoot You Will Be Fine, but I think I remained a little too politically correct.”
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Who is Celine Devaux?

Céline Devaux is a director and illustrator born in 1987. After studying literature and history, she graduated from the National School of Decorative Arts in Paris. His graduation film, Vie et mort du grand Raspoutine, won numerous awards, notably at the Clermont-Ferrand International Festival and the Premiers Plans Festival in Angers. His second short film, Sunday Lunch, was selected in official competition at Cannes in 2015 and won the César for best animated short film in 2016. You Will Be Fine, his third short film won the Golden Lion at Venice in 2017.

Interview with the director

Director Céline Devaux on her feature debut talks about her experience with this new format and the support she got from Sylvie Pialat, a French screenwriter and producer whom Deavux describes as a mentor.

Sylvie Pialat was designated as my “mentor” during a short film festival: immediate proof. For my first film I wanted to talk about expatriation, because it’s linked to my personal experience (I didn’t grow up in France). I also wanted to talk about individual anxiety that affects us all (how should I behave, am I a good person, how can I get rid of all the toxic thoughts I have in my head) in a world of universal anxiety (how we will live in twenty years, what capacity for action I have in this crazy world). We are in a world where information is omnipresent, in a state of permanent vigilance. The worst is that we are almost used to it. In fact, if you look at the situation, it’s almost the clinical definition of depression: getting up, knowing it’s crap and not being able to act. All these anxieties are caused by Jeanne, whom we first discover as a modern superheroine… Yes, she has an honorable profession. You could even say that he has THE most honorable job since he wants to save the world! But his mission will fail and this failure will ruin his life.

Devaux talks about the castings of Blanche Gardin (Jeanne) and Laurent Lafitte (Jean).

At first, I didn’t know who Jeanne was going to play, which made the writing more difficult. I then started to imagine Blanche as Jeanne, without even knowing if she would take the role, and that unlocked everything. The mere fact that he existed and that he was so brilliant was enough to motivate me. Eventually we met, she read the script, she liked it and she gave me a lot of good comments. The fact that he agreed to do the film was a gift for me. Blanche has an admirable sobriety in her acting, she offered something that served both the film and the character immensely. Laurent Lafitte plays a man similar to Lebowski, it’s interesting! The complicity with Blanche was immediately obvious, their bond is organic on the screen. Laurent has an incredible comic range, which is expressed through the body, the pauses, the tempos, the silences. It was important not to fall into the grotesque. Jean always looks outrageous: his short-sleeved T-shirt, his loosely fastened belt, his pin-up glasses. With all that, you had to be very moderate for everything to work! Jean is the kind of person I want for myself. He is free, he admits without apology that life is hard, that work is not really his style, he opens up about his mental struggles without any inhibition or shame. She is not afraid, unlike Jeanne who is afraid of everything. The saying “love doesn’t need words” has always struck me as odd, because people brave enough to talk about love are irresistible! I really wanted Jean to be like that. At first he really annoys Jeanne, but little by little he reassures her: he speaks for two, he gives her all those words she isn’t afraid to say.

Devaux addresses the theme of depression in a first film.

I wanted to write a comedy about depression and then talk about all the toxic thoughts that go through us when we’re not feeling well. I had to find a way to tell them lightly. Where did the idea for this animated “little ghost” come from? Probably a little ghost came to me in a dream… It’s a hairy creature, neither male nor female, who haunts Jeanne all day. A kind of reflection of shame. It is also the memory of all the voices that Jeanne heard accumulating in her brain. The long hair made me laugh at first, but it also allowed me to transform this little ghost, to play with its appearance. I wanted to tell what was going through the head of this woman who completely lost her. It’s also a huge comedic element, because you can juggle what he says and what he really thinks.

The director explains what animation technique she used for the film.

I use the same technique since I started making films: I do everything by hand, drawing with acrylic paints or markers on a transparent sheet. Under this sheet, I have a light tablet and, above, a camera. Drawing on this surface allows me to scrape the paint, to develop a character on the same medium and to improvise.


  • The original music for the film is by Flavien Berger (The Endless Days of Youth, Glory Day, Mala Mala).
  • Director Céline Devaux talks about the soundtrack which plays an important role in the film, describing it as rich as Jeanne’s inner world:

Flavien Berger and I met when we were students. We have worked together for a long time. I call him often to share the stories I have in mind. He is a friend in life and also a friend in writing. He also likes to tell stories in his music. We like to talk about songs that send us back to a certain memory or emotion. We went to Lisbon together while I was working on the script: we made a sound map, with field recordings of the city, of particular events. In the pieces that Flavien composed for the film, he used some of these recordings: real engine sounds, water sounds, street noises. It is an orchestra of sounds both real and invented, skilfully arranged so that they seem natural, transporting us without our knowing how or why, letting ourselves be lulled by emotion.


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1. gro gro Jeanne interlude 1:55
2. soul 01 2:19
3. hope 1:15
4. beep beep 1:52
5. Claudia Apr 25 3:19
6. Jeanne naked interlude 0:54
7. Jeanne ever interludes 0:46
8. everything is fine 2:18
9. Claudia night 0:58
10. red geist 2:36
11. forgotten in the sky 1:32
12. Jeanne slow interlude 1:58
13. sobrancelha 4:06

The soundtrack to Everybody Loves Jeanne is available on Amazon.

Photos and posters

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