Georges Bizet’s opera Carmen has been by means of many cinematic iterations — Carlos Saura turned it right into a flamenco spectacular, whereas the late Jean-Luc Godard by some means managed to provide you with an existential thriller — however Benjamin Millepied’s reimagining could be essentially the most unique tackle it but.

“It’s a few girl who’s working for her life, from Mexico to the U.S.,” he defined when he visited Deadline’s TIFF Studio. “And as she crosses the border, she encounters a border patrol and a Marine with PTSD. Everything goes incorrect in that second, they usually find yourself fleeing collectively in the direction of Los Angeles. So, it’s a film about freedom, love and demise — with a lot of music and dance. It’s a whole reimagining of Carmen, with all-new music, a few girl who can love and be liked, and who expresses her freedom by means of motion and track.”

Toronto Review: Benjamin Millepied’s ‘Carmen’

The movie is one thing of a ardour undertaking for the director. “It was an opera that I grew up with,” he stated, “that basically stayed with me all through the years. And after I was considering, even in my early 20s, in regards to the movie I wished to make — as a result of I used to be making brief movies, dance movies — it all the time stayed with me.”

Millepied revealed that he was impressed by a pal, opera director Peter Sellars, to depart from the unique textual content and make one thing new. “He stated to me, ‘Oh my God, the story is so uninteresting and so dangerous, you must fully reinvent it.’ And I began agreeing with him. It’s a Nineteenth-century girl written by a person who knew nothing about girls. But we additionally wished to make it actually modern, with a narrative that individuals may relate to — the thought of a personality that’s fierce and impartial.”

To hear extra about Carmen, click on the hyperlink.

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