under destruction | a conversation with ovidi benet
Visual artist Ovidi Benet has amassed an impressive portfolio in the short years he’s been expanding his creative journey. From a childhood spent building treehouses in the Spanish Mediterranean town of Denia to a flourishing career as an artist and design-minded visionary, Benet’s deeply conceptual practice aims to blur the line between art and design.
A recent project from the young artist, “Observatory,” explores the relationship between form and functionality. The experimental work within this project is described as being in pursuit of truth and authenticity using a variety of materials and shapes. Benet’s latest participatory exhibition, “Under Destruction,” uses the concepts of construction and destruction to explore the idea of transformation. The uniquely paradoxical exhibition is only truly created once the viewers begin to destroy it. Small gold hammers are provided to viewers which can be used to create holes in the exhibition wall, revealing a lighting display behind created in collaboration with design firm Vbospagna and studio CuldeSac.
While “Under Destruction” is still on display, Schön! caught up with Benet to talk about his conceptual inspiration, his feelings on contemporary culture and his practice of harnessing his child-like instinct as a purer means of viewing the world.
First of all, especially for our readers who may not be familiar with your work, how would you describe yourself as an artist?
As an artist, I am a simple observer and as a designer a simple designer with strong observation abilities.
You’re both an artist and a designer. Which came first? Do you feel these roles complement each other or sometimes overtake one another?
First came the artist side. When you’re a child, you see things from a pure perspective. You’re not really aware of what you’re doing, you do it on instinct. In art, this aspect is fundamental for the work to reflect truth and be pure. Design has given me the ability to conceptualize.
They definitely complement each other. That impulse of the child artist together with the learning, knowledge, and culture of the adult me.
Can you give us a bit of context as to what the story behind the “Under Destruction” exhibition is?
“Under Destruction” is just a translation of the concept that I develop in my work, in which I use the destruction and construction of the elements as a key element to generate a transformation and an object. In this case, the performance deals with the value of the construction of space based on collective destruction. By destroying the space, the installation emerges.
Why is citizen participation so important for you? How and when did you decide to embark on a project like this?
I think it’s a generational thing. I believe that, in this age full of uncertainty, sharing something as beautiful as art should be available to everyone. These are unique experiences that generate individual emotions in the collective. In this case, it was the essential piece to generate work. On the walls, you can analyze people’s moods, their frustrations, reactions and ways of expressing themselves.
What’s the nature of the partnership with design firm Vbospagna and creative studio CuldeSac? And how has it influenced the project?
They have had a fundamental influence on the project. In the case of Vbospagna because, through lighting, one atmosphere or another can be generated. In the installation, after breaking the walls, the secret of “light” was discovered.
The concept was born in CuldeSac and together with Pepe Garcia, the studio’s director, we worked to make the event and the installation a truly memorable experience.
How would you describe “Observatory” and its mission? When did you decide to launch this project?
“Observatory” is an office of ideas, of concepts that fly over design. The way we live and develop consists of observing the environment in which we live and questioning it, but, above all, it is working experimentally with shapes, materials and volumes to break with the usual.
It all started in 2018 when I began to question myself and think about everything around me. My profession, my habits… So I began to respond to that accumulated frustration by making pieces inspired by the “non- object”. This means, an object that fulfills a function, but doesn’t fulfill the form of the common imaginary.
Where do you see “Observatory” going in the future?
I see it generating a message similar to the one that has developed so far. A message that demands a break with the common and what lacks truth and authenticity in the form and thought behind it.
What and who has been inspiring you recently?
Let’s start with the “what”. I’m inspired by the purity of light and nature. On the one hand, my work is full of contradictions, but I’ m inspired by figures from the past like some Roman architect because of their simplicity and the primitive form of the building systems. Artists like Miró because of the simplicity of their forms and how they converse with each other. The designer Shiro Kuramata for his use of materials and perfect relationship with the final object. Finally, the lighting firm Ingo Maurer for its ability to transform an everyday object into a unique object.
What do you feel are the most inspiring projects/movements in the art world right now?
I don’t see so much movement as facts. The art world is always inspired outside the art world. That is, in life and in the most banal things, and from there it becomes art. I mean, facts like Instagram streaming inspire me to the truth of the street and its frustrations. I also find inspiration in the trash, what we now call “trashy”.
All of these have a common factor, they are answers to the culturally established and they are elements that, at first sight, are rejected and all of this is happening now.
Has your childhood influenced your current artistic practice?
Yes, it has. I spent my whole childhood in a Spanish Mediterranean coastal town, in Denia. Living near the sea and the countryside makes you a free person and observant of everything that people don’t stop to think about, the calm and its forms. I started making houses in the trees when I was a child and ended up studying design in Madrid.
Do you plan to continue exploring the ideas presented in “Under Destruction”?
Of course, but destruction can have a thousand different ways of being represented. This is just one of them.
The reason I continue with this concept is because I consider destruction is part of our lives. We destroy a couple, a friendship, a job, a way of life. Destruction is only the answer to that frustration that involves change and transformation.
What are you most looking forward in 2020?
I hope that the concept will continue to evolve without losing the essence of truth that is intrinsic to it. That my message generates reactions, that it stimulates people’s curiosity and they begin to wonder and seek their answers.
“Under Destruction” is open until March 11 at Vbospagna in Valencia, Spain.
For Michelle Núñez, storytelling isn’t just about performance — it’s a practice of presence, discipline, and self-discovery. And in Tyler Perry’s ‘Ruthless’, she proves that her work as a storyteller perfectly captures her character, Zane, who she plays with heartbreaking vulnerability and fierce determination. From enduring manipulation to discovering her own inner strength, Zane’s journey is a testament to resilience, self-discovery, and the power of hope. For Núñez, stepping into this role meant more than just acting — it required deep emotional investment, an unwavering trust in the process, and a willingness to carry Zane’s pain while honoring her growth.
Outside of acting, though, her deep connection to yoga and meditation defined much of her journey. With over 550 hours of teacher training, Núñez has immersed herself in various meditative practices, including mindfulness, metta, open monitoring, body scan, transcendental, yoga nidra, and movement meditation. At the core of her practice is non-dual awareness meditation, a philosophy that aligns with her holistic approach to both life and artistry. She also integrates fasting as a spiritual and physical discipline, embracing everything from three-day water fasts to 16/8 intermittent fasting. Now, as she balances acting and yoga, she is also channeling her creative energy into music, which is currently in production. This next phase is about stepping fully into her artistry, sharing her voice in new ways, and allowing everyone to experience an even more personal side of her journey.
In conversation with Schön!, Michelle Núñez takes us behind the scenes of ‘Ruthless’, sharing the emotional depth of Zane’s story, the bonds formed on set, and the exciting new projects on her horizon.
‘Ruthless’ explores intense themes of loyalty, survival, and identity. How did you mentally and emotionally prepare to step into the role of Zane?
Preparing for Zane required a deep connection to her heart and spirit. I had to tap into my own sense of resilience, remembering that we all have moments of strength and vulnerability. Mentally and emotionally, I ground myself in faith and trust in the process, knowing that Zane’s journey, no matter how difficult, is also one of growth. It’s a constant reminder of the power of love, loyalty, and staying true to yourself.
Zane has gone through some harrowing experiences in the series. How has she evolved since you first started playing her, and what has surprised you most about her journey?
Zane’s evolution has been one of self-discovery. At first, she was trying to survive in a world that was so harsh, but now I see her awakening to her own power and the possibilities of freedom and love. What surprises me most is how much she continues to surprise herself. Her growth has taught me that even in the darkest of places, we have the capacity to heal and transform. Her journey is a beautiful reminder that light always finds its way through.
What has it been like working with Tyler Perry, both as a director and storyteller? Has he given you any memorable advice that has shaped your approach to acting?
Working with Tyler Perry has been a gift. His ability to tell stories with such depth, humanity, and authenticity is inspiring. One piece of advice that’s really stuck with me is to trust myself. I’m reminded to bring my full self to the table — to trust the character’s journey and embrace all of her, even the messy parts. That kind of faith in the process has deepened my own belief in my craft.
The show deals with dark and high-stakes situations. How do you decompress after filming such intense scenes? Does your meditation practice help you separate yourself from Zane’s struggles?
After filming intense scenes, I always make space for stillness. Meditation and breathing practices are crucial for me to release the emotional weight I might carry from a scene. I’ve learned that it’s okay to feel deeply, but it’s also important to honor my peace and restore balance. I find so much comfort in allowing myself to let go of the energy from Zane’s world and reconnect with my own.
‘Ruthless’ takes a deep dive into the world of cults and manipulation. How did you research or mentally prepare to portray someone entangled in such a complicated and dangerous environment?
I approached Zane’s world with an open heart and a deep sense of empathy. It was important for me to understand the psychological and emotional toll that being in a cult could have on someone. I focused on humanizing her experience, knowing that she wasn’t just a victim of her circumstances but a soul yearning for love and connection. It’s a painful journey, but one that offers hope in the end. That was my guiding light.
suit. Jean Paul Gaultier
opposite
shirt. Shushu Tong
earrings. Jenny Bird
suit. Jean Paul Gaultier
opposite
shirt. Shushu Tong
earrings. Jenny Bird
Credits
The chemistry between the cast plays a big role in the show’s tension. What has the dynamic been like with your co-stars, and how do you support each other through the heavier moments on set?
The dynamic with my co-stars is incredibly grounding. We truly lean on each other, both on-screen and off-screen, to create a safe space where we can give our all without holding back. During the heavier moments, we check in with each other, offering love and encouragement. The bond we’ve built as a cast has created a deep sense of trust that allows us to explore these intense moments without fear, knowing we have each other’s support.
Are there any memorable behind-the-scenes moments or stories from filming ‘Ruthless’ that stand out to you?
There are so many beautiful moments on set, but one that always stays with me is the way we all come together at the end of a long day, just to share stories, laughs, and encourage each other. Those moments of connection remind me that while the work can be intense, the relationships we build along the way are what really make the journey special. It’s the lightness and laughter we share that helps balance the weight of the stories we’re telling.
‘Ruthless’ doesn’t shy away from heavy societal themes. What conversations do you hope the show sparks, and what do you think it adds to the broader dialogue about control, freedom, and identity?
I hope that ‘Ruthless’ sparks conversations about the importance of self-awareness, healing, and reclaiming one’s voice. The show touches on dark and complex issues like human trafficking and the manipulation of vulnerable individuals, highlighting how some can be influenced when they feel they have few choices or opportunities. It’s about recognizing that while there are forces in life that may try to control or manipulate us, we also have the power to break free and step into our truth. I believe the show adds to the broader dialogue by highlighting how much of our identity is shaped by our freedom to choose and be authentic and how crucial it is to support each other in that journey—especially for those whose voices have been silenced.
How did your journey into yoga and meditation begin, and what drew you to teacher training with over 550 hours of practice?
My journey into yoga and meditation began as a way to reconnect with myself—mind, body, and spirit. I was drawn to the practice for its ability to cultivate peace and clarity. While I no longer practice in the traditional sense, pursuing over 550 hours of teacher training was a natural step to deepen my understanding and explore another spiritual lineage. I trained at a school rooted in classical teachings aligned with Eastern thought, and though yoga is now a chapter in my past, it remains a meaningful reminder of the power of stillness and mindfulness. Today, that influence flows into my faith in Yahweh, where I embrace the presence of the great I AM, trusting in stillness and peace to guide me in every aspect of life.
Has your yoga and meditation practice influenced your approach to acting, especially in portraying such a complex character like Zane on Ruthless?
Yoga and meditation were essential tools in my journey to stay grounded and present, helping me connect deeply with my characters. With Zane, those practices—especially meditation—guided me to approach her with calmness and awareness, even in her most intense moments. Now, I carry everything I’ve learned and trust that I am being led through each role with clarity and purpose.
You started creating neighborhood performances and short films at a young age. What inspired you to tell stories back then, and how has your creative voice evolved since?
From a young age, I was always drawn to the power of stories and how they could connect people. Growing up in a military family, I moved through many different neighborhoods, each with its own unique energy and experiences. Constantly adapting to new environments showed me the importance of sharing stories to create understanding and empathy. Over time, my creative voice has evolved with a deeper sense of self, grounded in love and faith. Now, I tell stories with the intention of bringing healing and inspiration, with the purpose of using my art to empower others.
Whether it’s acting, wellness, or advocacy, what are some upcoming projects or dreams you’re excited to pursue in the near future?
I’m so excited for what’s ahead! I’m working on projects that merge my love for acting and music, allowing me to explore new characters and deepen my artistry. I have some exciting roles and creative collaborations in the works, as well as new music I’m looking forward to sharing. I’m also involved in mission work through my faith community, which has been a meaningful part of my journey—both through hands-on service and supporting initiatives that uplift others. There’s so much in store, and I feel blessed to be on this path, trusting that everything will unfold in its perfect time.
shirt. Saint Laurent
bra + skirt. Prada
shoes. By Far
shirt. Saint Laurent
bra + skirt. Prada
shoes. By Far
Before the ink was even dry on the contract, Emily Bett Rickards set to work on becoming Mildred Burke. Transforming her body and shifting her mindset to the ring, Rickards started her research with Queen of the Ringby Jeff Leen. Using the book as a bible and basis to guide her, the research went beyond that, digging past the surface to find a woman who, not only helped pave the way to make female wrestling a viable and profitable sport for women in the 1940s and 50s, but powered through a world who told her ‘no’ at every turn. Continuously inspired by Burke, the more she found out about her, Bett Rickards was enticed and entranced by the wrestler’s passion. Something she tapped into for inspiration. Burke’s seemingly unquenchable tenacity, determination, and fire made her such an incredible character to portray.
From the depths of Starling City to the ring, Bett Rickards traded in Felicity Smoak’s keyboard for the ring. Putting her body through a strict regime to gain muscle quickly, she recollects to us the difficulty of it but cites how Mildred’s story made the pain worthwhile. As our chat continues, there’s a passion of her own that shines through, an enthusiasm to share the importance of a story like Mildred’s. Queen of the Ring is a film that, in today’s society, deserves to be put on a pedestal, not for fear of her story being forgotten, but for showing us what the strength of resilience in the face of adversity can do.
In conversation with Schön! Magazine, Emily Bett Rickards discusses Queen of the Ring, her relationship with the source material, how she physically prepared for the role, what she hopes the audience takes away from the film, and how history should remember Mildred Burke.
Can we talk about the research aspect of Queen of the Ring? How deep did you go? What was a fact about Mildred you found particularly fascinating?
What was awesome about Mildred is that even though we’re limited to the era, she was in the 30s, 40s, and 50s. Since she liked to be in the spotlight, there’s quite a bit of information on her.So that was very helpful [laughs]. There are a lot of photos. Luckily for me, she had the persona, the dream of being a show woman in a sense. What attracted me to her was this sort of aspiration that she had against all odds, right? She had never wrestled before and hadn’t seen much wrestling as a woman. She wasn’t even allowed at the shows. So, the fact that she had gone to one wrestling match and was like, “That’s what I want to do,” is just extraordinary.
It did feel like any time someone, or society was telling her she couldn’t, she transcribed that in her body as fuel. She was very good at pivoting and making something her own.The script was based on a book called Queen of the Ring:Sex, Muscles, and Diamonds by Jeff Leen. It’s fantastic. There’s so much more about her life in there, so that became my Bible. The internet has many wrong and good things, but it is definitely a lot to dive into. There are a lot of photos of her as a wrestler. Even more importantly for me, there were photos of her with her son, which seemed to show two different sides of her. A big part of the research was also putting on this muscle because her body was different than mine.That means she walked around the world differently than me. Finding out how that muscle influenced her spine and her navigation. Those things really became a part of her personality, I found.
Talking about the muscle, I was going to touch on the physicality of the role. What was the most challenging thing about getting into the ring for you and putting on that muscle? What did that transformation process look like?
Even before contracts were signed, I called my friend, Thomas Taylor, who’s out here in Vancouver and had been a trainer of mine for a while. I said, “Listen, I have to put on muscle.I have to put on muscle fast.” [laughs] We had three months before the camera. I think that was just over two months before wrestling rehearsals.I needed to do something pretty drastic. Tom also knew that I needed to be supplemented with nutrition. He brought on board Dr. Diego Botticelli, who framed out what type of food was needed to do that.It was more food than I’d ever eaten. It was more carbs than I’d ever eaten and more protein than I’d ever eaten. It was extreme.
It taught me a lot about how food builds the body, but food for longevity moving forward. It opened up my eyes. As a woman, I discovered what we need when we’re exercising and how we can have the foundation of our bodywork within the parameters of what we’re asking it to do. I think what was challenging off the bat was making sure I was getting into that routine.
The learning process of it, became second nature, but I really was weighing all my food, and trying to get more protein in a day was pretty hard because you can supplement with powders and stuff, but I do like to eat as many whole foods as possible. I think it’s a real honor to be able to have done this. We should all strive to be healthier and eat how our bodies want us to, but please keep in mind, that I was fueled by the passion to find out who this woman was, it made the process easier. As a side effect, I got to learn a lot. I hope that empowers people. I hope that if you’re looking at changing your life you fuel it with passion as opposed to feeling like it’s a chore because I think that’s the only way we move forward.
Emily wears
coat + gloves. MARGARET
opposite
Emily wears
top. KkCo
trousers. THEO
shoes. Jeffrey Campbell
bracelet. Christine Bukkehave
Emily wears
coat + gloves. MARGARET
opposite
Emily wears
top. KkCo
trousers. THEO
shoes. Jeffrey Campbell
bracelet. Christine Bukkehave
Credits
Mildred Burke was a trailblazer for the sport, and she broke boundaries for women. Why do you think a movie like this should exist in our current political climate?
It speaks for itself. There’s something about Mildred specifically in the story we tell that really focuses on bringing people together and making us stronger.When we start picking at each other, we’re only dividing ourselves. We’re not learning anything. We’re not growing as individuals, but we’re definitely not growing as humanity. There will always be a challenge or an evil to overcome. But the point is that we have to do it together, not divided. There’s so much division in the world. There’s so much violence. There’s so much tragedy happening that when we think about coming together, it feels impossible.
Mildred was a woman of her era. There were things she wanted to challenge, right? There were norms that weren’t allowed, and she challenged that. She’s like, “Well, if I can tell myself that I can do this, I have to be able to believe that you can do it too.”That is what was so cool about her. When you believe in yourself, you have to be able to believe in someone else as well. Cause you can’t just give yourself the right, you know? Maybe there’s something in there that we can learn today.I really do think there is, and I hope everybody can metabolize it in a way that puts it into action in their lives.
How would you say that Mildred’s story changed you as a person and as an actor?
There’s definitely something in her that propels me forward. If I have self doubt, she’s the voice that comes into my head now.She says, “No, get up. Like, let’s go. You can deal with this. Not only can you deal with this, but you can also make this into fuel.” She’s made me more of an understanding person. There are all these things that we talk about; self-love and self-forgiveness and self-care. Those things are hard, but they’re more important because not only when you give them to yourself, you’re immediately giving them to other people. It’s almost infectious, you know? I’m so grateful for that lesson.
Moving a bit away from the film for just a moment, I read an article by Comic Book Resources that the Arrowverse fandom prepared you for the passionate wrestling fans.Is there a particular fan interaction that sticks out to you in recent memory, whether it’s around this film or the Arrowverse?
I’ve talked to people about it, especially the Arrowverse, and they have ideas for a certain season that has passed, I’m always like, “That’s such a genius idea!” They’re always good ideas. So, I think that when you love something, you have the right to be passionate about it.I think you have the right to have opinions on it, for sure. There’s always a vice and virtue to the same thing. Your virtue is your vice. Be careful with who you divide outside of that, because I think the best part of being passionate about something is bringing somebody else in, right? That’s what I was welcomed into with wrestling. It’s also what I was welcomed into with comic books.
With wrestling, though, this was a world I knew nothing about. Now I feel like I’m indoctrinated in a way that is a part of my cellular being.I’m so grateful for that, because I do feel like it is a world of passion. I’ll have the chance to welcome somebody else into something I’m passionate about in the future in the same way.
You’re the second person from the Arrowverse to enter the ring with Stephen Amell’s role in Heels. Did he reach out to you, or did you reach out to him for advice?
[Emily shakes her head]
No?
Such a missed opportunity.
For sure.
I hope we get to talk about it in the future, now that the movie’s out.
I think you will. Between you and I, who do you think could complete the Salmon Ladder fastest?
[laughs] I don’t know what type of shape he’s in, but I was also never able to do the Salmon Ladder, so he’s got muscular memory that I don’t have. He has the upper hand, you know?
I mean, fair, but he’s also filming or was filming Suits: LA, so I think you could take him.
I could definitely take him. I just don’t know about taking him in the Salmon Ladder.
With the film all said and done, and out in the world, what’s the first thing you did once you finished filming?
I went for a run.
Really?
I went with my partner, who’s an ultramarathon runner. I wasn’t really prepared for that. The workout I had when preparing for Mildred, the recommendation was not to do any cardio at all.
Wow.
Because we were trying to build muscle that looked bigger, and the way I was eating was really to build muscle, not to sort of shed anything, in a sense.It just would have been too stressful on the body. We were trying to keep my stress at a minimum so the muscle would build. Nutrition’s so interesting because if your cortisol gets too high, then your hormones get out of whack, and if your hormones get out of whack, then everything does. Especially with women and our cycle, you want to be a little bit more delicate.
So, I went for a run, and my legs felt like concrete. My body was just tired and done, and I was pushing it literally uphill in the middle of summer in Canada. My body was done.I think I was pushing myself to do something I wasn’t necessarily listening to my body for. But I was so excited to be home. My partner and I live somewhere where the best part of the year is summer. It’s the most beautiful place to be in the summer. It was really about spending time with family and doing something that we do together. It was just a brutal reality that what I needed to do was just sit down and take a break.Even though I was doing something that I loved, but no, I had to take it easy for a few weeks.
What do you hope the audience takes away from the film?
I hope they feel impassioned. I feel like they really learn about Mildred, but they also learn that inspiration comes from everywhere. But it also comes from each other.And, you know, you asked that beautiful question about when the world is so divided, what are we doing? It just makes you think that our human existence is really to be with each other and learn from each other. And the platform I get to walk on and that we get to walk on today is because of people like Mildred. And so, carrying that torch, in a sense, and recognizing the privilege that we have of where we live, what we do, I guess, connection with other people, but also just making sure that we’re lifting each other up.
I love that answer.
I can’t see a better way to live life. I don’t think there’s another answer. Please show me. I think that’s our best way forward, to be honest. At some point we die, but I hope I get to hold your hand while we go through life.
How do you think history should remember Mildred Burke?
You know, I was thinking about her. We just did our premiere in LA, and it was our last American premiere. She died in her 70s on Valentine’s Day, and decades later, not only her story lives on, but her message lives on. It makes you realize you have a ripple effect, right? She really had a ripple effect, and it doesn’t need to be on some global scale, but your family who you interact with, your pets, like you have a ripple. I think that carries on decades after you die. She was a woman, she was a wrestler, and she was a person with a dream.But I think she would want to be remembered as a wrestler; that’s her bones, baby.
My last question, Emily, is what’s next for you?
I’m awaiting the next character that’ll kind of wake me up again, just like Mildred did. Something is prickling right now, but we’ll see if it lands.
Editor’s note: This review contains some spoilers.
François Ozon’s latest film When Autumn Falls is an unexpected thriller hinged on friendship and faltering family dynamics. At the heart of the film is Michelle (Hélène Vincent,) a sweet grandma who spends her days up keeping her rustic home and going for walks with her chain smoking best friend Marie-Claude (Josiane Balasko.) “I’m appalled at how rapidly older people are disappearing from view in society and on screens. I countered this by filming actresses in their seventies and eighties who wear their age proudly and accept it without artifice,” said director Ozon in a press interview.
Their loyal friendship began many years ago in Paris where they worked together. Their shared past follows them like a heavy grey cloud, even into old age. “We tend to sanctify and idealise older people, forgetting that they’ve lived complex lives. They were young once, they are sexual beings, they have subconscious thoughts and desires,” said Ozon. The delightful duo mirror each other when it comes to motherhood. They both question whether they have been good mothers as Marie-Claude’s son Vincent (Pierre Lottin) is finding his feet after a stint in prison and Michelle’s daughter Valérie (Ludivine Sagnier) has a fractured relationship with her mother, further threatened by an unfortunate series of events.
“When I was a child, one of my aunts organised a family meal where she cooked mushrooms she’d picked herself. That night everyone was very ill except for her because she hadn’t eaten any. I was fascinated by this incident and suspected my aunt – so kind and caring – of having wanted to poison the entire family,” said Ozon on the film’s conception. “When we cook wild mushrooms, are we not, more or less subconsciously, trying to get rid of someone? Starting with that question, I created a character who seems to be the epitome of a doting grandmother, but who might actually be a bit more sinister than outside appearances would suggest.”
Set in Burgundy, the French countryside becomes a character of its own throughout the film. The landscape’s cosy and autumnal colour palette fills the screen with maroon, amber and toasty browns. The tranquil rustling of trees and the tinkering of metal spoons on soup bowls evokes a warm homeliness that starkly contrasts the void in Michelle’s family life. Its frigidity is captured through isolating wooden door frames and ignored phone calls. As an audience, the camera’s frequent vertical sweeps remove you from the narrative at times, but equally serve as a reminder that we are merely a voyeuristic fly on the wall to each character’s choices.
Nature plays a transitional role in the film with the change of seasons signifying mortality and the lengths people will go to ensure they survive. Whether that be Marie-Claude’s son Vincent trying to stay out of prison or Michelle desperately trying to stay connected to her grandson Lucas (Garlan Erlos,) each character protects their own, and in doing so, exposes their deepest fractures.
The faults each character is willing to overlook and the secrets they decide to keep in the name of preserving familial ties, at its core, is the most human aspect of this film. Flawed humans doing whatever they can to evade emotional solitude, even if it costs them. A concept illustrated by a striking image of one character resting like a camouflaged fallen leaf on the forest floor. “I want the film to make us wonder what our own behaviour and reactions would be if someone close to us were suspected of committing an act we disapprove of, but for which we have no proof…How far would we go to protect them? These questions feel particularly relevant today, in light of the current political and social unrest,” said Ozon.
It seems that much like the tumbling autumn leaves, throughout the film women fall victim to the mistakes of men. Marie-Claude suffers her own health problems worrying about the misbehaviour of her son. “It’s like a punch in the gut. Her body keeps the score…she feels responsible for her son’s struggles,” said Ozon. The mistakes of Marie-Claude’s son bear little repercussion, only protection. In contrast, the women in When Autumn Falls cannot escape their errors. We come to learn that all that tension in the brisk autumn breeze stems from a family history riddled with shame, blame and guilt.
Through the lens of 2025, the villainisation that Michelle receives for her past feels out of place. Although, Ozon explained that “Michelle and Marie-Claude’s past is a pebble in their children’s shoes. Doing some research, I found that in general there are two types of reactions. Either the child defends the mother, seeing her as a victim who needs help now, to get healthcare, retirement. Or the child rejects the mother, disgusted and shocked by what she did.”
‘When Autumn Falls’ is showing in UK & Irish cinemas from 21st March
photography. Courtesy of Parkland Pictures
words. Shama Nasinde
