Schön! 47 | when cognac meets art

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

For its 2025 artist collaboration, Ruinart partners with Julian Charrière, a Franco-Swiss artist whose work explores the intersections of time, geology, and human impact. Known for blending scientific research with poetic storytelling, Charrière challenges how we perceive nature — not as something separate from us, but as a force constantly shaped by human history and intervention. Conversations with Nature brings this perspective to Ruinart’s terroir, transforming the Champagne house’s deep connection to the land into an artistic dialogue that spans millennia.  

Ruinart’s selection of Charrière is a natural fit. The Maison has long been at the forefront of sustainability in winemaking, from regenerative viticulture to eco-designed packaging. Charrière’s work adds another layer, questioning how human activity reshapes the environment and what it means to engage with nature in a time of ecological urgency. “At the heart of my work lies the notion of encounter — an intimate dialogue with place, biome, and environment. These moments are not mere observations but exchanges, where landscape and presence intertwine, shaping one another in a quiet, reciprocal conversation,” he explains.  

Champagne’s limestone-rich soil holds traces of an ancient sea that once covered much of Europe. Forty-five million years ago, the region was submerged under the Lutetian Sea, a vast marine world whose fossilised remains still shape the land. The chalk pits (crayères) beneath Ruinart’s vineyards are ghostly echoes of this past, a reminder that landscapes are never static — they carry the memory of deep geological time.  

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Charrière pays tribute to this lost ocean while reflecting on the fragile state of today’s marine ecosystems. His Conversations with Nature series includes a collection of photo lithographs capturing coral reefs — luminous, living structures that mirror the prehistoric marine forests that once thrived beneath Champagne. Using a 19th-century lithographic process, Charrière reimagines these corals through pigments sourced from locally collected limestone and crushed corals. The muted, pale tones evoke the fading vitality of these ecosystems, suggesting both the resilience of nature and its vulnerability in the face of environmental change.  

Beyond these prints, Charrière transforms Ruinart’s crayères into an immersive installation. At 4 Rue des Crayères, a subterranean vault becomes an echo chamber where the memory of the Lutetian Sea collides with the imperilled frequencies of today’s coral reefs. 

Unlike a traditional gallery exhibition, Conversations with Nature is designed as a multi-sensory experience. Through large-scale installations, geological textures, and soundscapes, Charrière invites viewers to engage with Champagne’s terroir in a way that goes beyond observation. The collaboration reinforces Ruinart’s vision of Champagne as a product of time, landscape, and human ingenuity.  

Charrière’s artworks will debut at Art Basel Hong Kong from 28–30 March, before traveling to Miart, Berlin Gallery Weekend, Art Basel Basel, Frieze Seoul, and Art Basel Paris. The installation at 4 Rue des Crayères will open in June 2025, offering an ongoing meditation on the deep time embedded in the landscape of Champagne.

Learn more here.

photography. Alice Jacquemin, Gregoire Machavoine, Raul Cabrera
words. Gennaro Costanzo

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A paradise full of sin, betrayal and power games… The White Lotus moves to the tropics of Thailand for its third season, once again revealing the deepest human weaknesses hidden behind a sumptuous vacation. In this seemingly idyllic world, who is truly innocent and who is tainted by sin? And the biggest question: Who is this season’s victim and who is this season’s killer? Mike White’s masterfully written story keeps this mystery until the very end. One of this season’s standouts is Arnas Fedaravicius, best known for The Last Kingdom. Fedaravičius, who plays Valentin in the series, appears as a yoga instructor, masseur and health mentor working at The White Lotus hotel.

Schön! speaks with Fedaravičius about the excitement of being part of a big production, how he got the offer for the role, the filming process in Thailand and how the third season will surprise viewers.

What was your first reaction when you found out you were cast in Season 3? Did you instantly say yes, or did you have to think about it for a moment?

That’s funny. I’d like to see someone who was like, “Hmm, am I gonna say yes to The White Lotus?” I think there wasn’t any doubt that, as soon as I heard the news, I was like, “No doubt, yes, I’m doing this.” It was hard to believe, too — like, it was really hard to believe this news because I had completely forgotten that I auditioned for it. I think nothing in life is kind of promised or secured, but I had this instant feeling that my life was about to change. Life is about to change because it’s just such a huge thing to be part of. So it was hard to believe, but also, there was this sensation of, like, “Wow, life is gonna change now.” Not that my life wasn’t great — I mean, by all accounts, I was living a great life — but it just added this little extra, like, spice.

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How was the auditioning process? I assume it was a bit complicated? Maybe it was a bit crowded?

Well, my personal experience was that I just did a self-tape, as I’m sure most people around the world did. I think the actual auditioning was perhaps in Los Angeles, but at the time, I was in Paris. I was very lucky that I had my friends from a past show with me. Someone brought a tripod, somebody had some lights. We were in a hotel, and we were just trying out different ideas, different things. It’s really nice to do it with your friends because a lot of people hate self-tapes since you have to direct yourself, but I’ve now come to love them because you get to decide how you present yourself. We just did a variety of different, silly versions of takes and then sent them out. I didn’t have a callback, which I know some people did. I hadn’t met the director or the producers until I got to Thailand. I was very fortunate. I did one tape, and I got the job.

That must have been really surprising.

Yeah! That’s another thing that made me think, “Really? I got the job just like that?” There wasn’t a callback — they just gave me the job. 

It must have boosted your confidence!

Exactly, yes. It was the best news.

What can you tell us about your character? How does he fit into the dynamics of The White Lotus this season? Without spoiling too much, of course, is he someone we should keep an eye on?

Oh, just like everyone on the show, everyone has their own secrets and surprises. You should stay alert. I think whenever you watch The White Lotus, that’s the theme for audiences — you have to stay alert because you never know who’s doing what and how. I play Valentin — he’s a yoga instructor, a masseur, and a health mentor who works for the hotel. He’s a Russian expat, which there are a lot of in Thailand. He loves having a great time. I think he really loves his job, and I think he’s pretty good at it, which is why he’s kept it. To be part of The White Lotus hotels, you have to be good at something. He’s a fun-loving guy and sometimes people like to spend more time with him because of his looks or his skills. And, well, fun stuff happens.

The show is also known for its dark humour and sharp social critique. How do you think Season 3 raises the stakes in that regard? Every season tackles different themes — did this one surprise you in any way?

Yeah, when I was reading it, I already thought, “This is so profound.” The moment I got all the scripts — because it’s rare to get the entire thing upfront — I thought it was very profound in exploring people’s religions, and their associations with religion. Then there are, obviously, some observations of the current zeitgeist, what’s happening in the world, the relationships between people of different faiths, different beliefs — perhaps even different political beliefs. There are really sharp moments where you’re like, “Wow, I can’t wait for audiences to see this.” I don’t know if you’ve seen it yourself yet, but even though only three episodes have come out, there are already certain jokes and moments that make you think, “Wait, this could have been written and shot two weeks ago!”

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Exactly! Especially the conversations Michelle Monaghan, Carrie Coon, and Leslie Bibb have. I was going to say that! The part about Trump and politics — it’s quite recent, but they’re already discussing it. So it was really shocking, actually.

That’s why I think one of the fascinating things about Mike White is his ability to be so in tune with what’s going on in the world. I don’t know how, but I think he’s one of the most perceptive people I’ve ever met.

Was there a particular scene or storyline that surprised you when you first read the script? Like something that made you think, “Wow, we’re really going there?”

I don’t want to give away too much, but I’ll just say — stay alert. The twists and turns in the relationships — when I was reading the script, there were a lot of strong “wow” moments. Like, “Oh my God, I can’t believe this is happening!” or “I can’t believe they’re actually talking about this!” I think the big twists and turns really start happening in episodes 4 and 5. All of the storylines and all the different characters you’ve followed up until that point — you might have thought one thing, but in episodes 4, 5, and 6, your expectations will completely shift.

Filming on an island in Thailand must have been an experience in itself. How did the location influence the atmosphere on set? Did it feel like a real-life resort, or did it still feel like work?

Formally, it was work, but I had to keep reminding myself of that. Not because I was going out or anything, but you had to remind yourself, “Let’s not forget, we’re here for work.” We were living in insanely luxurious resorts. I keep getting emails from the Four Seasons now because I’m on their list, and every time, I just reminisce about the time we spent there. It just makes your job so much easier.

It’s funny because we were living in this luxurious hotel, I was playing a hotel worker, and all of us who played staff could just go talk to the actual hotel workers. The reality of it all blended with our experience on the show. I’m an absolute fan of Thailand. On my days off, I’d just hop on a motorcycle and cruise around the island. The weather was always perfect, and you were constantly taken care of to the point where you had to remind yourself, “This is temporary.” It’s easy — the human mind gets used to luxury so quickly. When something is hard, it’s harder to adapt. But when something is easy, by day 3, you’re like, “Where’s my turn-down service?”

And the cast is always an eclectic mix of established stars and fresh faces. So what was the energy like on set? Were there any co-stars you particularly connected with? Any fun or unexpected friendships that formed during filming?

I think the experience of what you mentioned — that there are established actors and actors who are still making their way up — makes it feel like a team sport. You get this assistance from these very well-established and good professional actors. Like myself, working with Michelle Monaghan, Carrie Coon, and Leslie Bibb — most of my scenes were with them. Just their presence and assistance — like being off-camera and giving you lines in different ways or helping you see the scenes in a completely new way — made it a constant team effort, and you constantly got to learn. I’ve been a fan of these actors from before. While being there, you just want to ask questions about what to expect, and how to approach this.

I remember we were in this Muay Thai gym — Jason Isaacs’ family was there as well. They were training, and I was sitting on the side of it, preparing, reading sides for a different job and asking him for advice. Or spending time with Walton Goggins, going out for dinner, and asking, “How do I approach this? What do I expect?” And just getting these nuggets of wisdom. And of course, you have these actors in the show that you see as such strong personalities — like, for example, Jon Gries’ character, Greg, where you’re like, “This motherfucker!” But then you meet him, and he’s the nicest, most pleasant man to be around. I think every single one has taught me something about myself and about human interactions—what to expect in this life.

And Mike White has such a unique approach to storytelling. What was it like collaborating with him? Did he give you any specific direction that stood out? He seems like someone who really trusts his actors—was that the case for you too?

I think the fear of coming into the job was like, “Oh my God, this is such a big show. I need to bring my A-game. I need to be super prepared.” You come in with this grandiose idea of how it should be or how you should play this scene. I remember I was a bit nervous. We did a couple of takes, and he just said, “See? Wait. More. More just… more you.” And that was kind of like, “Oh, that’s what this is about.”

You’re creating characters — some of them larger than life — but ultimately, they all come from within you. In the most Mike White fashion, he just grabs onto something like a channelling magician and throws it at you. I just needed to be more me and that was the focus and, because of that, you completely trust him. We’ve all seen the show, we know it works. So whatever comes out of his mouth, whatever he says, you just go, “Absolutely, yes.”

Then, as the show progresses, because you trust him so much, you feel more liberated to bring your ideas and try them out. Like, “Mike, do you think this would work?” and he’s open to it because to have a good idea, you might have to have 10 or 20 bad ideas. Among those ideas, sometimes he’d pick one and say, “That’s a great one — do that.” Or he’d tell you to try something different. It’s just this constant dance with Mike White — you’re dancing, but you never feel like you’re stepping on anyone’s toes.

I think that’s what makes it so unique and the part of that uniqueness also comes from the fact that it’s a whole team, but the whole team trusts one man’s vision.

He wrote it, he’s the showrunner, he’s the director. Sometimes I’m like, “Do you ever take a rest?” And he never looks tired. But the fact that it’s all from him just makes it easier in a way.

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Also, from Season 2, Tanya, played by Jennifer Coolidge, became such an iconic figure. Do you think there’s a character in this season who embodies a similar larger-than-life presence? Maybe not in the same way as Tanya, of course, but someone who really steals the show? For example, I think for me, it’s Patrick Schwarzenegger’s character, Saxon. He’s making me nervous from the first episode! So I feel like, “What’s gonna happen?”

Yeah, that was my experience when I read the script! Like, “Oh my God, this guy has the craziest lines. He has the craziest things to say.” I think you’re right — everyone is uniquely themselves, and no one can be better than anyone else before or after. Tanya’s character kind of established the tone of the show, right? She helped develop it into what it is. For this season, I must say two characters stand out. Parker Posey, definitely — her character. And you’re right, I have to agree with you with Patrick. Every time he speaks, you’re like, “This motherfucker! I can’t believe he just said that!” And Parker, in her own way—when she’s this kind of dreamy, floaty person, and then suddenly she switches to reading a Thai menu perfectly, ordering effortlessly — it’s fantastic.

I think it’s just an amazing cast. It’s a huge cast, yet somehow, every single character is big but also grounded.

Yes! That’s exactly it. Somehow, even with such a large ensemble, everyone gets their moment. The way the show is written, every character feels like they belong there.

You’re widely known for The Last Kingdom. How did stepping into the world of The White Lotus challenge or surprise you as an actor? I think it’s such a different genre—was that part of the appeal for you?

Well, it was my dream for a long time to be in something that blends comedy with drama and thriller elements, so I was very excited. One of the first things that excited me was the fact that getting into my costume takes two minutes — as opposed to The Last Kingdom, where every day it was 30–40 minutes of people pulling you into leather suits and corsets, making you stiff. That was a massive change. Not being in the cold? I’ve been dreaming for a while of just putting on a little shirt and stepping into warm weather! I think, like any actor, I always knew I wanted to do a variety of things. It was just incredible to jump onto something this big — something I had been dreaming about. I’ve always wanted to be part of an HBO show ever since I saw The Sopranos, so it just feels amazing.

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The White Lotus has a fan base that loves to theorize and dissect every detail. Have you come across any wild fan theories about Season 3 yet? And what’s next for you after this? Do you think fans will be able to predict what happens this season, or is it full of surprises like always?

Oh yeah, I’ve already seen some! Since episode 2, people have been saying, “That guy’s the killer! That girl’s the killer! He’s gonna do this, she’s gonna do that!” Even my friends have been messaging me like, “I know you’re involved in this or that!” And I’m like, “Guys, I’m just a health mentor!” But I promise — the ending is not what anyone expects. Mike White is just too good at controlling the audience’s expectations. You think you know where it’s going, but you never do.

As for myself, I have a movie coming out early next year with Jason Statham called Mutiny. Right now, I’m working on a new show here in Scotland. Just auditioning, preparing for the next thing, while also riding the wave of The White Lotus to see where it takes me. Getting to meet people, wonderful people like yourself, taking beautiful pictures for amazing magazines like your own, and just living life. Taking every experience in, learning from the best, having huge dreams, and moving forward.

I was also going to ask one more thing. I just saw it on the internet, maybe it’s not true, but I heard that the fourth season is going to be in Geneva, in Switzerland. Do you know anything about it?

As in The White Lotus?

Yeah.

Oh, I don’t know. I’ve heard that they were travelling already, looking for the next location. I heard someone mention Paris, and someone else mentioned Switzerland. It’s all just like the Mike White Show — it’s a mystery until it happens. Perhaps even us actors, we’ve been told different bits of information just to confuse the rest of the world until it actually happens. I could see that, though — a Swiss experience, maybe somewhere in the mountains. But I really don’t know.

It made me a bit confused, actually, because I was just checking for the fourth season’s location, and I ended up seeing all these different places.

Yeah, The White Lotus is really good at keeping secrets. They’re riding the wave very well. Even their social media presence — like their Instagram — is hilarious now.

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Season 3 of The White Lotus is airing now.

photography. Alex De Mora @ DMB Represents
fashion. Fabio Immediato @ The Wall Group
talent. Arnas Fedaravicius
grooming. Nadia Altinbas using Oribe + Augustinus Bader
production. Clara La Rosa
studio. DehavStudios
interview. Alper Kurtel