Latest / Beyond our Stories / How Much of Who We Become Comes From Our Family? | Beyond Our Stories with Caroline Bourg
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- speaker-0: I forgive a lot of people that I don't forget. I forgive because I lost a lot of time in my life to be angry about people about my mother, for example. And now I don't have time to be angry. Chacun fear command with the moins he has. And ⁓ just to feel the blessing the other. speaker-1: Every person has a story. Some stories make us laugh, some challenge us. speaker-2: Some stay with us long after they're over. speaker-1: But sometimes the most meaningful part of a story isn't the end. speaker-2: But it's the conversation that begins afterwards. speaker-1: Welcome to Beyond Our Stories. I'm Ali and today we have a very special guest with us. Our guest today is actress Caroline Bohr, who was part of shaping one of those stories, Blanfa. speaker-2: I'm Stephanie. And Cavoline and ⁓ and us are meeting for the first time today. We only got an impression of you in the movie Bel Enfant so far. And ⁓ the idea of this podcast is to talk more about the conversations that are sparked because of movies. And I think Bel Enfant is a great movie to start a new conversation out of. So we're so happy to have you here today. speaker-0: Thanks for the invitation. Hallo? We said hello hello in ⁓ German. Yes. Hello. Hello. So I I prefer speaking French. I will speak ⁓ a little bit in English, but I will be more confident to express my feelings in my own language. But I can speak German. I'm so sorry. Thank you for this invitation. ⁓ it's a great pleasure to talk about This ⁓ film, Bel Enfant, is a wonderful film, a wonderful story, so I'm really happy to talk about it. speaker-1: I believe that the listeners and the t the the viewers they are very interested to hear your personal journey and your background. So if you can tell us ⁓ more about that, that would be speaker-0: ⁓ okay. ⁓ so I'm French. I come from the north of the France. I speak in French now. My parcours of the France for Paris when I had nine years and I commenced my theatre at 18 years. I traveled on a series France which appeared Saint Tropez sous le soleil, under the sun in French. At the International Symtrope. And I had a lot of people in Allemagne who regarded. It was a series that was exported in 40 ⁓ people. And it was a rayment international. And I was working at the television. I also had a lot of doublage. I'm good one. I started judging when I was ⁓ twenty. And the doublage is a chance that I am particularly. And what would you say? I travel essentially at the television in France, a little cinema. It's a film independent, so that I permit to work in cinema and have a role important. So it's also a pet incursions in the cinema. I have also a little bit of theatre, I exploit all the facets of Du métier d'acteur. speaker-2: So what I understood is that you started working as an actress when or started training when you were eighteen. Yeah. And then ⁓ you worked in all different fields, like mostly in television. Yeah. And then also ⁓ in movies. speaker-0: I mean, yeah, yeah, yeah. Yes, b because I I come from t I come from TV, okay? So I don't know if the the the bridge is possible in ⁓ in Germany. When you work in TV it's difficult. I I I work on a soap TV sult. It was like a soap and for the cinema it was impossible to take an actress from a TV to have a important part in in in in a big movie. So I do independent film like Bell Enfin. Or when I I play on cinema film it's a little role ri little part, you know. But ⁓ finger crossed I will get it. speaker-2: So so so what made you decide to become an actress in the first place? speaker-0: I was not voulu being actress when I was. It was a job. And when I had my baccalaureate, the diploma of finance, it felt that I change my life, my function, and I said what. And I reviewed a bit on the room. When I was 12 years, I was living in theater to see a piece of theatre that appeared The Grand Standing. About an actor very popular, really an actor a little rigolo, who appeared Jean Lefebvre. And at the end of his spectacle, he wanted to scene. Okay. And he went to do it and said, Tiens, viens toi, viens. And then I went to scene and he demanded, you send at a line? And he said, Peter, it fell carrier with me. So that it was as rigolo, and I've had 12 years. And it was not, I started with him. But it had a little idea in the eye. And after my back, when it had been my orientation, I was a little bit mannequin, model, and I had a director of grand agency who made me say to be actrice, it is telling expressive, there are so many things that are when you talk. And I said, Why But it has already been a friend. And I had these attitudes of theatre and now I've been my vocation. I've really tried And ⁓ finally already I want to find other children. It's really my message and I love plus you. It was not a dream for for me. I never dream about be an actress, okay, but I see this this ⁓ theatre show and he said you to the public, he said this this little girl will be an actress with me later. We'll We will play together later, but he died. speaker-2: But that was kind of like your inspiration to look into that. speaker-0: The the first step in my mind, okay, why not? And ⁓ when I finished my study, normal study, ⁓ I I must ⁓ s find something to do. And ⁓ I was a model, a little model, and ⁓ the director of a great grand great agency said to me, Yeah, why don't try to be ⁓ a mod ⁓ an actress because you're so expressive in the face. Yeah. Why not? And Okay, why not? And when I finish my study I find this a school of theatre and it was ⁓ a revelation for me. speaker-2: You started later on, you really decided to become an actor. Was there ever a moment where you said, ⁓ maybe that's not the right career choice? Were a moment where you almost gave up or was it always smooth sailing? speaker-0: No, be an actrice, it's really my life. I don't know if other children. But it's very that performance it's a difficult in the measure where we depend on desire of the others. A number of times, it was 25 years that I've got this now, and I've got the chance to vivid, I have the chance to have a very bad project and Come on, the doublage, the theatre, the cinema, the television, I had plenty, and by moments I had enough to write because it was difficult, because there had been a lot of work. And at that moment, at that time that I would arrest me, at that time the work has been watching. At that time I had a proposition that I said, but you don't arrest this, it is fine for you. I don't want to get anything. If I do it my life, and I have very happy to live in intelligence artificial, for example. It's a child that is in the doublage. It's very impactful. I thought other things, but it is in line with the actress. It's really fit. I I I don't want to to do another work. It's my job, it's my my passion. But sometimes during 25 years I do my work, my actress job. But sometimes I didn't have so many work and I want to quit it. Because it was so so sad to don't have ⁓ a lot of work. But anytime when I ⁓ want to quit my job, something in my work, some someone or something tell me, No, come on, this is a new project for you and it was impossible for me to quit because it was a an an amazing project. So I think it's my it's my way. I yeah, it's my way. speaker-2: Yeah, so from the way you describe it, it sounds like really a calling that is always just keeping you keeping you. speaker-0: Always. Twenty five years. Twenty five is where yes, I wanna quit it maybe ten times. Always a big project arrived and it well we changed everything. So that sounds like I can call it. speaker-2: When we moved to Bell Enfant, can you talk to us a bit about ⁓ how you first got involved with the project? speaker-0: Yeah, sure. I've been in a festival of film and you have a comedian who appeared Sarah Sheyenne who felt the role of the livreuse of cinema on Belle Enfant. And she talked about this project on Tiens, I'm sure a film who appeared Belle Enfant, and the real sons in the film, and you pour correspond. And it's like that it was. And I had Jim, the real phone. He said, I'm going to read what you have. We could respond. I want the scenario and did me what you think. And I learned the scenario, I adored it. Come on, effectively the fact that it was a film independent, it would permit to have an actress pas a little bit, not very clear in the world of cinema. And it was the occasion for me to have a very great role important. I knew the scenario, I was talking amorous personnel of Salome, and I appeared Jim and said, Evidently, okay, okay. But I also said I'm because the film is not produced. The film was produced at the base. I said, I'm not if the production said we have an actress too, you could say it's not you say I'm done, Caroline, I don't know the role. And he said no, no. In the film, there's a person who worked in a cinema, you know, Sarah Cheyenne. I meet her in a festival and she talked me about this film, about Bel Enfant, and she told me that Jim, the director, was ⁓ searching Salome. And she said, ⁓ it will it will be a good match. I will ⁓ ⁓ give ⁓ give him your contact okay and we sent I send I ⁓ have Jim on the phone and she he said okay ⁓ I will send you the scenario and I fall in love about the scenario. It was amazing for me. It was an an opportunity great opportunity to have a big part in a beautiful movie. And I say to him ⁓ wow it's a wonderful film but if the production if you get a production later and the production say but Caroline Bourg I'm sorry, but she will she walk on TV, she's no one. Find me another one. Okay, that's ⁓ that's a game. And Jim said, No, no, I want you. And I promise you that you will be in my film. And it was a wonderful gift. This film is very particular because three months of tournage. On a tour this film in three days. And he had commenced a tour, he had to take Emily Marine, with the person the personage of Emily. He had to take two scenes with him. And I was arrived at the two session, where he had returned the argument to finance the two session. And so we had the third session with all the casting when it was in Italy. And he the role of Salome, and we made this. C'était ce pour ce rôle là pour le coup. speaker-2: Yeah. Yeah, yeah, yeah. And we also know that since like we're also producing independent movies, we know that a lot of times you don't just produce it in just one run, but like you produce part of it. Search for money. speaker-0: Four five rands in three years. It was ⁓ incredible for my hair because ⁓ I I have to touch my hair ⁓ for three years and I want longer so it was speaker-2: ⁓ Ha ha. speaker-0: Okay. speaker-2: And when ⁓ when you were when you were shooting, when you were working on your role, what was this experience like? What was it like working with the other actors and what was the story pulling out of you? speaker-0: The first day that I did, it was also the three, the three. And it very function. I saw Sibelle who had already played. And the group of others had very function. So it worked. And for my two tournament, it was in Italy. And it was incredible because I heard Marisa Berenson, who was my mother, Rosaline. It was a very remote. I rencontrate Baptiste Le Caplin, who had the role of Gabin, who is very connected in France, and it has very functioned. And I think the other comedians, Albert Delpy, Eddie Borelli. To the big group in Italy, it was incredible. It was really vacances, in fact. We were in the same end, we had in a condition. ⁓ I adore literal, my mother is Italian. Litaly is really my pay of cœur. And later I was checking with an equipe reduite, film independent. We were a petite vintage, two main ends, and I feel like it's a big souvenir. speaker-2: So you're working very intimately together, which I think that also is so nice for a film like that because it's about such intimate topics and like opening up conversations. So what would you say, ⁓ what emotions did this whole story awaken in you? Or did you learn anything about yourself while working on this? speaker-0: Yeah, it's another ⁓ in my life personal I was fashion with my mom. But very fashion, I never with my mom after other years. Ressemble physically to my mom. And it was ⁓ and the first year I was already ⁓ you ressemble to my mom and said, ⁓ but I'm sorry that you're speaker-2: ⁓ well. speaker-0: And she had said she was very fashion with him. And we talked about these days. And she said, it was incredible. She made me, I better say that you can have the pain. And so it was very cathartic to tour with Marisa because I had the pay with my member in the film. Later in the very life, I feel the pain with him, with my very mom. So it was a chemistry. ⁓ This film has permitted to be in pain with my family, with my proper family. And Marisa was very precious, very precious. She has a of my chemicals of flee, in my relationship mère-fill. It was parallel. I have these stories a bit parallel in fact. So it was the blessing of my enfance also, this film. I try to translate because it's a challenge for me, you know? ⁓ I was ⁓ upset with my ⁓ real mum in the real life. Really, really upset. I wasn't talking to her since years. So ⁓ and Marisa Berenson, who played my mum, look really like my mum. It was ⁓ so strange for me. And the first day I s I said to Marisa, wow, you look like my mom. And she said, I I hope you like her. And I say, mm, it's a little bit complicated because I I am upset with her and And she said, Okay, I will try to peace you. No, how would you say to to make the peace with with your mum with with with ⁓ your mum in this film and it was catartic, you know, because I made peace with my fiction mom. I ⁓ expressed my feeling with my fiction mum. So at the end of the film I was in peace with myself. speaker-2: Yeah, to make peace with you. speaker-0: And ⁓ years later I make peace with my real mum. It helps a lot. speaker-1: That's very interesting because you took that from from from the from the movie Cell when you were making that and after that you made peace with your mo with your real mother. So I'm interested to hear your opinion. ⁓ what do you think the audience understand after watching Balan Fo or or or take away from this movie? speaker-0: The film works of resilience, of reconciliation, it is of relations familiar and blessings that we have who are offense and that we have to come to the life. And it is also not, there are things we don't do. And what I'm saying that the public on sorting of Belle Enfants is that if it's possible, if it's possible, it will tell their fresh even though it's too tight. Alright, there are situations. There are these situations that they permit for plenty of reasons. But I say there are many people in sort of the film, when he is sort of in France, who have said I will party with my member or I'll party with my pair, it has revealed these things on me. Because it's dominating to rest with their dad and sentiments a bit trist, in fact. And if the public with the enemy to have the pair. It's tough. This film is a voyage also, it's a voyage road trip version, but it's also a voyage interior. It's a film about resilience, family relationship, difficult relationship, and I hope that the public when he saw this film can make peace, and if it's possible, can ⁓ Talk to each other and ⁓ think about the things that ⁓ are unsaid are bad for ⁓ for everybody. If it's possible, maybe the public can be more peaceful with their own family. It was better in France. speaker-1: Mm-hmm. speaker-2: Yeah, and I think ⁓ French Yeah, I think if French also mentioned that it's a movie about non communication and what it does to relationships. Yeah. So so I like that thought because I f feel like whenever something was finally brought up in the movie, and I think your character was doing an exceptional job in in ⁓ throughout the film, whenever a conflict was about to rise, your character was like, Nope, we're not going there in in in the beginning. And then ⁓ later on, whenever ⁓ something actually was brought up for anyone in the family, it opened up a moment of growth for everybody involved because finally something that was not said before had finally space now and finally came out. speaker-0: We have the story the principal, and each person has his proper conflict. Salome, the person of Salome, is one who during the adolescence has been the tampon, the family. It's really the person who is the cement of that family. And it has that, Salome, at detriment of his own life. There is a phrase that said Rosalind in the film. She said, My son. Elle is gay avant. In the film, my mom said ⁓ your sister, Salome, ⁓ was was a really fun before, before the explosion of the family, and she sacrificed adolescence adolescence in order to to make the family together. Don't principal for Salome, c'est-d'accord that family ensemble, quoi. Salome. emotionally. And the conflict of Salome also she churches an early, she churches also to leave them. At the end of the film is ⁓ completely asexual, she rejects the sexuality, and a fair moment of the film she learns them. So there are two voyages parallel, the family and her voyage and the voyage in Italy. It was a lot of speaker-1: Before we continue, I'd love to take a moment to tell everyone who is listening and watching that one of the reasons we wanted to start this podcast is because we believe a stories shouldn't end when the credits roll. And what we felt was missing was a place dedicated to stories that stay with us, stories that make us think, feel something, start a conversation, or even help us see life from a different perspective. The idea wasn't simply to build another stream platform because there are plenty of places where we can watch movies nowadays. So and that's why we created Aleph Cine Stream. And Balantfa is also one of those stories, a movie that invites us to reflect on family, identity and the emotions that shape us. And it's exactly the kind of experience we want people to discover. So if today's conversation resonates with you, you can continue the journey by watching Balancau on Aleph Cine Stream. You can find a direct link in the description. So Carolina, ⁓ I have one question because Balanc is about a family and the family of these three sisters and the mother was But dysfunctional from the beginning. So and I I I'm curious to know why family ⁓ relationships shape us so deeply. speaker-0: In the film there's a scene that is very important, it's the scene of the roi, when he saw the questions and response. It's a show that has invented the real. And a lot of people on the film have said, I'm going to say to it. Because perfectly we have the money to do these things in face to people. And the scene it was the scene the more difficult for me in this film, because it felt really mise à nu total, it's an overture, and I want to my blessing. Where Salome wants all his blessings. And Salome, in fact, during the adolescence, he got his blessings and arrived to pass at other children. So it's at this moment where the fact of her mother reproaches, it permitted to advance and liberal of those. But it's difficult, even now in the very life, it was difficult, it was a try to liberate. of my enfance and my adolescence. This was a very try. And I think that it's a chemist, it's a parcourse of life. To say that what I've known during the enfance is definitely already. It has constructed, I feel the family I am already, but it's to me also to put the command of my life. What was Salome in the film when she did the shows to her mother, well, I When she said I've had adolescence, I've been force because I didn't occupy to I didn't occupy my sister, I've been mammand at 15 ans. And then she did the shows and finally after the moment cathartic, she arrives to accept it and to say I have the drought to be amid, I also have the way to have a view and to let the others a little debrouillary, I'm not obligated to be here for the mind. And I think that it's a chemical view, and I've got 45 years already, and I'm in chemistry. C'est à dire j'arrive maintenant à me dire bon, voilà, mon adolescence m'a marquée, mes relations avec ma maman m'ont marqué très fort, mais aujourd'hui je reste j'ai les bases de qui j'étais, mais je construis au fur et à mesure mon futur et je suis maître de mon futur. speaker-2: Hay speaker-0: Good luck with that, Stephanie. speaker-2: I thought you were translating for yourself. speaker-0: I will try to I will try to. I said ⁓ I I I I do a a resume. It's a journey. It's a personal journey. ⁓ like Salome when when the s the scene of the Jeux durois the game with ⁓ when she talked to bat to Gabin in fr in instead of her mother, she said that I don't have any any childhood, I don't have any adolescence because I want the mum, I I do your job, it's not fair. And now I'm ⁓ I I'm tired of that. And the fact that she will reveal all this thing and say the all this thing changed her mind and she understands that she can't she can be now, she can be happy, she can't love, she can sh she's not responsible for everything. And I said I do the parallel with my own life. ⁓ my childhood, my adolescence built me, but now I am the the boss of my life. I understand it. And ⁓ my childhood made me, but now I can have the control of my life. I can decide by myself. That's ⁓ a resume but ⁓ it it was a it was a real journey. It was a real journey and I have forty five years old and I I get it two, three years ago with my psychologist. speaker-2: What what I'm thinking is that, ⁓ in my opinion, this movie also beautifully shows that it enriches the relationship when you actually admit, ⁓ I'm not as strong as I look like right now or I need help or this is what I'm missing 'cause then the other person has the chance to step up and take on another role and be there. 'Cause I think that that happened in the scene between Salome and her sister where she says, But I also have needs. Which I think that was a really freeing moment also when you're watching it as the audience, like, ⁓ but now there's something new that can happen in the dynamic between the two of them. speaker-0: Yeah, you you you you are talking about the scene on the train station. Yes. That scene is incroyable parce que film independent. Don't arrête the gare. On the train. On the authorisation to film, but ⁓ speaker-2: Il arrive le train le train Huk Roll, ok. speaker-0: It's incroyable. And it fallait tout dire, c'est le moment où Salomé did, mais j'ai besoin qu'on m'aime moi aussi. J'ai besoin qu'on m'aime, j'ai besoin qu'on me le dise, j'en ai marre. Dis-le moi, dis-le moi, je t'aime. Mais no, pas comme ça. Elle a besoin de l'entendre at that moment là aussi. C'est une scène très, très fort, très, très fort, and that is incroyable à tourner with the conditions. And finally, it's very réussie, that scène, parce que justement we have the right to l'erre. speaker-2: And I think it also works nice for this scene because you get the sense that ⁓ it just needed to come out of you. So yeah, I think that w that worked nicely. speaker-0: Oui, but parce que ⁓ just having part of the maison and moi j'arrive, je me dis elle est où? Elle est où elle est partie? ⁓ non, ⁓ non, ça suffit. ⁓ Salomé, elle a tout fait for the monde soit ensemble en racontant des mensonges, faut que tout le monde soit ensemble, et l'autre elle s'en va, Marine s'en va. Enfin pardon. Comment elle s'appelle? Emily Emilie. Emilie. Oui. Donc Salomé avait tout fait pour toi que la famille soit réunie et Emilie s'en va. Non, c'est pas possible. speaker-2: So I was mentioning ⁓ yeah, you you understood my question, Ali. We were talking about the scene at the train station. Yeah. And ⁓ they could only just do one take. So it really go ahead. speaker-0: Yeah, it wa it was amazing because ⁓ one shot or two, but we we must wait for the train. So Jim say, Okay, he arrived in two minutes. Ready? Yeah, yeah, yeah, yeah, yeah. Wow. And and I said to Stephanie, it was ⁓ I talk about the sincerity w when I was talking at the beginning of the podcast. I was in ⁓ total sincerity and also Marine and that works. That's why the scene works, because we have one shot. Because the tr next train was ⁓ half an hour later. And it was a really, really great scene to to play because the s the feelings were really strong, really true. And that's the beginning of the expiation of Salume. She began with her sister. She said, okay, I do everything for I have my whole family together and you no. You can't go away, you must stay with us now and I will say what I think about you and after I say to my mother, etcetera, etcetera. So it's the beginning of the expiation. speaker-1: Yeah, it means that ⁓ that Salume made peace with herself after after so many years ⁓ of struggling and having having difficulties with with her family. Because I saw that this way in the in the movie, so ⁓ for me it seemed like it's very difficult for Salume to forgive the family, to forgive the mother actually. B because it it it looked like that because also the the scene where ⁓ the sisters are voting and Salome is not doing that, ⁓ is also ⁓ is also saying that she can't forgive yet, but she is still there. She wants to keep the whole family together. Is forgiveness difficult for you as Caroline Borg? speaker-0: No, ⁓ no. I pardon a lot, but I believe. But I'm not done. I think that Salomé is me, she sought, but she pardon. The three who pardon the more is Emily. Emily is really in a colère, a colère brute from her mom. ⁓ Cheyenne, it has to regard, it has to be regarded, and it's for that it will donate to many homes, because it has to be made, I regard. And Salome, I think it has reconnaissance, it has to be recognized, to recognize his traumatism, all she has sacrifice for that family. But I think that it is not pardoned, it has just been obliged. She said that if she was that dure in appearance and fragile, it's because of the place that she occupied on being adolescente. And Caroline, I pardon as facilitating. I believe, I read, I'm not, but I've had the time to be in collection. The color is a change that has long habit. I was long in colère, and I've put the time in fact. I disagree a little bit with you. I think the the most ⁓ Salome forgive but you don't forget, you know? Like me, I I forget. No, I forgive a lot of people like forgive, but I don't forget. I forgive because I I lost a lot of time in my life to be angry. ⁓ about people, about ⁓ my mother, for example. And now I don't have time to be angry. YOLO. And Salome is the the I said that Emily was really angry. She's in a hard hard way with a relationship with her mother. Cheyenne wants to be loved, wants to be seen. That's why she ⁓ have sex with so many people. And Salome wants to be Wants to a mom recognize a suffering. She she wants to be recognized. But she forgets. She forgets, she forgets, she forgets. speaker-2: And I think what helps in this world that forgiveness is even possible is that you understand none of the characters is acting because ⁓ is acting out of ⁓ bad intent. They're just acting the best way they can. They're not trying to hurt anybody. And I think all the characters are also understanding that, are learning that when they actually start to have more conversations, it gets easier to really understand ⁓ that That was just the best the other person could give in that moment. speaker-0: Yeah, you're true. Chacun fait comme il peut avec les moyens qu'il a. And I think it's come ça aussi dans la vie. On fait comme on peut. And moi j'essaye, et j'essaye dans ma vie aussi de faire comme je peux, de faire du mieux que je peux sans blesser les autres. C'est vraiment quelque chose qui me tient à cœur. Alors j'ai des défauts, bien sûr, comme tout le monde j'ai des défauts. But j'essaie de pas être... And perfect, because I am very sincere, I do these things and performance that will bless, and I'm gonna excuse, I've had fierce lessons. ⁓ okay. Everybody How do you say it in English? The meal. ⁓ Do the better the best I can, yeah. In my whole life I try to do the best I can and sometimes ⁓ I hurt people but it was ⁓ it wasn't with on purpose. And I I try to do my best, I try to do the good ⁓ around me. And every character in this film do his best. speaker-2: The best they can. speaker-0: With ⁓ the possibility, with their own possibilities. speaker-2: Yeah, there's not a character that's evil, but everybody is trying to figure it out. speaker-0: No, no, no, no, really. It's a big film, there's nothing of personnel, but there's a character who is méchant. The personage the difficult, the plus, it was Rosaline, the mom. But it has what she had, in fact. It was not fit for having people at the base, and she had three people, and they lived like she had, but she had sacrifice. It was her life of fan after all. And ⁓ I think it's a mammoth of mom toxic, but you have méchancet there, and I have voulated blessing. Yeah, I I said the the the hard character was the ⁓ ro Rosaline, the mom, but she she do her best too, and ⁓ she was toxic mother because she I think she shows herself, but she didn't sho sh choose to hurt us. She only shows herself a life. She had three kids, okay, but I think she wasn't be no wasn't made to be a mum and she do her best. speaker-2: Okay. ⁓ do you think that ⁓ stories like ⁓ Bellaphone have the power to heal people? speaker-0: Donc guérir c'est un grand mot, mais je pense que des histoires comme celle-là peuvent aider les gens à réfléchir. C'est intéressant quand on sort d'une séance de cinéma en se disant bah tiens, ça me fait penser, ça me fait réfléchir, ça me fait avancer. C'est intéressant. C'est intéressant. Donc je dirais pas guérir, mais en tout cas ça peut faire du bien aux gens. Souvent at the sort of cinema, when we have the tournée des avant-premières for the sort of film, on est allé dans plein de cinéma in France. And the gym en sortant, ça nous a fait du bien. Donc guérir peut-être pas, but faire du bien, oui. Faire du bien and réfléchir. ⁓ speaker-1: Many people, especially me, when when I watch a movie, sometimes then when it resonates with me or when it gives me the feeling I am missing or ⁓ I need, I see myself in a specific character. If someone watches Blanfot tonight, tomorrow, in the day after tomorrow and find themselves ⁓ in your character in the movie. What would you want to tell them? And yeah, what would you do what what w what w what what do what would you s it ⁓ say ⁓ tell them? speaker-0: For having that feel early, Salome has done passed by a many attack. Don't see a person recognized in Salome, I would say to é, to put confiance in him, and to either her interior. Because ⁓ Salome is enormously obvious in that history. She has completely obviously who she was at his family. And certainly it does the truth at the time to be them. And if anyone recognizes in Salome, I speculate that we permit to them and to eat a bit plus and to donate the right to live for him and not seem for the others. And to make the right to be I said that ⁓ Salome had a had a real journey with a lot of steps to arrive at the her happy ending and if someone find her s himself on Salome maybe ⁓ I will ⁓ I will say to him that maybe he can trust him more that he can ⁓ be him herself really be him I said that and ⁓ that he had the right to be happy for him herself. speaker-2: And what would you say, like if listeners were remembering just one thing from our conversation today, what would you want it to be? speaker-0: If it's possible, if the situation ⁓ is ⁓ optimal, make peace. It's important before it's too late. ⁓ speaker-1: Hmm. Yeah, we are ⁓ we are moving ⁓ towards the ending ⁓ of this episode ⁓ of the podcast Beyond Our Stories. One question that I ask every single guest that we have, and that's the same question ⁓ every time, is what's one story or a movie, even a personal experience that changed the way you see people? It can be anything. speaker-0: The show the very important for me in my life, my experience is an experience personal experience, is when I didn't have my wife, to my wife. I was saying when I put my wife in the brand that my life was foutu. I explained, I had my wife in my brand and I told me my life never the same. Because I was responsible of that. He is there. ⁓ I'm responsible for that enfant and ⁓ it could arrive too and n'importe quoi now she's not too much, it's just and it has changed enormously my rapport au monde because she's pretty conscience of the world that we entoured at this moment on display wow, it's not that j'offre that enfant the meilleur possibilities for s'en sortir in the life, Donc j'essaye de mère pas perfect parce que c'est pas possible, mais j'essaye d'être une mère pre presente and the meilleur opportunity for some for son enfant. I was talking about the my the birth of my child, my son, because when I I take my ch my my boy in my mind I say, Wow, my life is finished. Because I was responsible of this. baby. Person, yeah. My it I was responsible and ⁓ I I say to myself, okay, I want to protect him of everything in the world. And I take conscience of the the world, the people, the everything, and I say, okay, I will be not the perfect mother because it's impossible, but I will be the better mom. I do the better the best for him. That's changed my life and my ⁓ my how do you say it? My my way. to see the other people then I say it w is the most important thing in my life. speaker-1: Amazing. ⁓ yeah. ⁓ Caroline, thank you so much for sharing not only your experience ⁓ as an actress, but also your thoughts, your emotions and your perspective. speaker-0: Thank you. speaker-2: It was such a great conversation to have. Like I could could have gone hours and hours about the movie with you as you probably ⁓ speaker-0: Thank you. Thank you. speaker-1: And for for for the listeners and viewers who are asking, Yeah, where can I watch Long Fur actually? ⁓ we add the link in the description. The movie is available in multiple countries on Alep CN Stream. There is no subscription, there is no advertisement, so feel free to check it out. The link ⁓ is in the description. And yeah, as I said ⁓ already, ⁓ one of the reasons we wanted to create this podcast is because They believe the stories have the power to bring people together. They help us understand ourselves, understand one another, and sometimes even see the world a little differently. Bulangfa is also one of those stories. We highly recommend it because I was crying while I was watching the movie. speaker-2: Yeah. say it's definitely a movie that can crack open something for you and like Ali said, spark conversations with your loved ones. I think the movie can absolutely do that. speaker-1: If today's conversation resonated with you, I'd like to invite you to continue the journey by watching Balantpa, as already mentioned, and Aleph Cine Stream. And if this conversation means something to you, we'd love for you to follow beyond our stories. Leave a review, a comment, share this episode with someone who might need to hear it. Because every story begins on the screen but continues within us. Thank you for joining us. Have a wonderful day and see you in the on the next episode.