Jane Greer had told me so. And how right she was. When I first met her for an interview at her Los Angeles home many years ago, I had a few issues with me of Film en Televisie, a Belgian film periodical that published my interviews back then. One of the covers featured a picture of Émilie Dequenne in her highly acclaimed screen debut “Rosetta” (1999), directed by Jean-Pierre and Luc Dardenne. “I saw that film the other day, and I loved it!” Ms. Greer said enthusiastically. “And let me tell you something: there’s absolutely no actress here in Hollywood who could have played Rosetta better than this young girl did.” It instantly marked Émilie Dequenne’s smashing screen debut: she rose to fame playing Rosetta, a young girl living with her troubled and alcoholic mother. There she was, the seventeen-year-old Dequenne, right out of the blue, and she was here to stay.
Now, almost twenty years later, she still is one of the most reliable, dignified, and versatile actresses of the French cinema. The down-to-earth, all-round Belgian-born (1981) leading lady belongs to the pantheon of actresses in France, one of the most cinephile countries in the world.
A four-time César-nominee and a star without behaving as such, she had just ordered a coffee, and turned off her cell phone when she sat down in the salon of a Brussels hotel to talk about her latest film, “Chez nous” (a.k.a. “This Is Our Land”). She plays a non-political small-town nurse Pauline, a working-class single mom living and working in industrial northeast France, who gets involved in a far-right political party when recruited as its mayoral candidate.
With the presidential elections coming up in France, about two months from now, the release and the message of this handsomely crafted political drama couldn’t be more appropriate.
Ms. Dequenne, what convinced you to play the part of Pauline?
Everything. One of the reasons was [screenwriter-director] Lucas Belvaux; we did “Pas son genre” [a.k.a. “Not My Type,” 2014] previously, and I was looking forward to working with him again. It surprises me when people tell me now, ‘Bravo, “Chez Nous” is a courageous film.’ But I don’t look at it from that point of view: to me, this film was the obvious thing to do. It’s an important film which I think was necessary to make. So when Lucas was still writing the screenplay and told me what it was about, it was essential for me to be part of it. In my own private life, I have been confronted with people whom I always expected to be on the same wavelength, we shared the same views, but in the world situation as it is today, they have the tendency to close their eyes and are willing to vote for an extreme right-wing party. And this drives me crazy, it really upsets me, I am stunned, so that’s why I immediately said to Lucas, ‘That’s a great project you’re working on.’ So when I got to play the part of Pauline, I wanted to do everything I possibly could to express myself as an actress through the words from the screenplay. This was terribly important to me, not only as an actress but also as a person, a woman, a mother and a citizen. “Chez nous” was a very logical thing to do.
What is the secret of your successful collaboration with Lucas Belvaux?
So far we did two films together, but I hope there will be more to come. I like working with him and the characters he creates. In French cinema, it‘s not always easy to find genuinely great parts for actresses, although I have always been very lucky so far. I always got to play strong and interesting characters, but in, let’s say, three-quarters of the French screenplays, the most interesting, complex, and challenging roles are for men. The woman is often ‘the wife of,’ and consequently, the character is less developed. But, again, I have always been very fortunate up until now to play interesting characters, very well written with great dialogues, so I am grateful for that. And as far as “Chez nous” is concerned, Lucas came up with wonderful characters in his screenplay, and I am very glad he thought of me for the role of Pauline. I like his kind of storytelling; I understand and appreciate his approach. I trust him, and he trusts me. I think that’s the chemistry which makes it work for both of us so beautifully.
For many years now, you have been one of the most dignified leading ladies of the French cinema. Does this result in any kind of responsibility?
[Laughs] I don’t look at it that way. I only try to do my work my way and as good as I possibly can. I listen a lot, and I only accept the roles that I really want to play. If I have any doubts about a part that I’m offered, I simply turn it down. So I have to be convinced to play a certain character before I accept the part, and then it really comes alive. You have to be honest with yourself, you know. When I accept a role, it’s almost a matter of life or death to me: if I wouldn’t believe in what I do—in my own portrayal—then it’s almost like killing the character. That’s why I am very careful when I choose a role I wish to play. I don’t take it for granted, I don’t take it too lightly. To me, a movie is an essential piece of my life, and it becomes even more crucial if the character can also become a part of me.
And what about your screenplays? When you receive a new one in your mailbox at home, when and how do you read it for the first time?
Always in the morning, and I always read it back-to-back—not in bits and pieces, and I don’t ask myself too many questions or analyze what it’s about. This allows me to visualize the screenplay and look at it as if I’m watching a movie: reading a screenplay is, in fact, like watching a movie. I focus on my character, the situations, and all the information I get from the other characters, so I have to be very alert—and alone. I really need to be alone, to absorb every word I read, and use my imagination to unfold the entire story. My first impression of a new screenplay is terribly important. Sometimes screenwriters suggest sending the first draft of a new screenplay they’re still working on, but I always say, ‘No no, only send it to me when it’s finished.’ Because then I can watch it as if it’s already a film, and that’s where it all begins for me. My imagination can take me anywhere the story leads me to. Then when I meet the director to talk about the screenplay and the character, I talk about the fantasy I created in the back of my head, and see if the director shares my views; we exchange thoughts and ideas, and that’s how you can gradually create something magnificent together. That’s a very interesting process. And when we’re shooting, I only wish to know the ‘where and when’ on the set—that’s it, basically—without digging too much into the character’s psychology. I work à l’instant, and I try to be as efficient as I can in my performance; otherwise, there’s always the danger you might lose some of your own spontaneity.
Do you need a lot of takes?
That depends on the director. If it’s exactly what he wants, then he’ll settle for one or two takes at the most. Working with Lucas Belvaux is very easy for me: we understand each other so well, and I instinctively know what he’s looking for. But if a director wants something different, we’ll do multiple takes. When I did the car scene in “À perdre la raison” (a.k.a. “Our Children,” 2012), director Joachim Lafosse was very amused by the different approaches in each take. ‘Ah, she has another suggestion! Ah, she wants to look at it from a different angle!’ he always said. But generally, I don’t mind at all if a director suggests me to do several takes, but if I don’t really see any reason to, I always ask what I need to change. When you work with the Dardenne brothers [Jean-Pierre and Luc Dardenne], for example, they can do a scene over and over again, and as an actor you might not know exactly why—you even don’t ask why—simply because you know they are searching for something else. But in the end, I always rely on the director’s judgment. If he asks me, ‘What do you think, was this good enough for you,’ I always say, ‘You have to decide, who am I to judge if this was good enough?’ The director makes the decisions, so he has the final word on the set.
When you work with a director you never worked with before, do you have any expectations?
No, not really. I like to be surprised by his creativity, his approach, and the way he works with his actors. It’s always a challenge. There are always a few conditions, though, such as the screenplay, the role you’re about to play, and mutual trust. That is very important.
Do you need a lot of rehearsals before shooting a scene?
Very little. For “Chez Nous,” Lucas had prepared everything very carefully, so there was really no need to. Right before “Chez Nous”—and almost simultaneously—I also made “Au revoir là-haut” with director Albert Dupontel. For this film, we all knew exactly what we were expected to do, since we had rehearsed everything. He had the entire film in his mind before we first appeared on the set. That’s the joy of this profession: you get to work with different filmmakers, and they all have their own working methods.
You just mentioned the Dardenne brothers. The day they picked you out to play Rosetta, was that the most crucial day in your career up until now?
Absolutely. Ever since I was a five-year-old, it was my ultimate goal to become an actress. And because I grew up in the country, I never thought it would be possible to live this life as an actress that I’ve been leading for almost two decades now. So all of this has become possible thanks to the Dardenne brothers.
They did give you a stunning role, and you really did something extremely worthwhile with it, didn’t you?
It was a magical part to play; it wasn’t an easy part, and being an actress isn’t always as easy as it might look, but thanks to the Dardennes I have been able to choose the roles I like to play ever since. Can you imagine how wonderful that is? Since I was seventeen years old, I have been able to choose what I did with my professional life, and I never think of acting as ‘a job.’ What a luxury!
You got instant recognition, Best Actress at the Cannes Film Festival, you were nominated for a César, and numerous other awards followed. For a seventeen-year-old, wasn’t it perhaps a little bit too much too soon?
No, not for me. I mean, you never play a role hoping to win any awards for the work you do, but if you’re lucky to win, it’s a wonderful bonus. Awards are not the most important thing in your life, but it’s always nice if you’re awarded.
February 23, 2017
“Chez nous” (2017, trailer)
ROSETTA (1999) DIR – SCR Jean-Pierre Dardenne, Luc Dardenne PROD Jean-Pierre Dardenne, Luc Dardenne, Arlette Zylberberg, Laurent Pétin, Michèle Pétin CAM Alain Marcoen ED Marie-Hélène Dozo MUS Jean-Pierre Cocco CAST Émilie Dequenne (Rosetta), Fabrizio Rongione, Anne Yernaux, Olivier Gourmet, Bernard Marbaix, Frédéric Bodson
LE PACTE DES LOUPS, a.k.a. BROTHERHOOD OF THE WOLF (2001) DIR Christophe Gans PROD Richard Grandpierre, Samuel Hadida SCR Stéphane Cabel (adaptation by Christophe Gans, Stéphane Cabel) CAM Dan Laustsen ED David Wu, Xavier Loutreuil, Sébastien Prangàre MUS Joseph LoDuca CAST Samuel Le Bihan, Vincent Cassel, Émilie Dequenne (Marianne), Monica Bellucci, Jérémie Renier, Mark Dacascos, Johan Leysen
OUI, MAIS…, a.k.a. YES, BUT… (2001) DIR – SCR Xavier Lavandier PROD François Kraus, Denis Pineau-Valencienne CAM Pascal Caubère ED Dominique Petrot MUS Philippe Rombi CAST Émilie Dequenne (Eglantine Laville), Gérard Jugnot, Alix de Konopka, Cyrille Thouvenin, Vanessa Jarry, Patrick Bonnel, Xavier Lavandier
UNE FEMME DE MÉNAGE, a.k.a. THE HOUSEKEEPER (2001) DIR – PROD Claude Berri SCR Claude Berri (book by Christian Oster) CAM Eric Gautier ED François Gédigier MUS Frédéric Botton CAST Jean-Pierre Bacri, Émilie Dequenne (Laura), Brigitte Catillon, Jacques Frantz, Axelle Abbadie, Catherine Breillat
MARIÉES MAIS PAS TROP, a.k.a. THE VERY MERRY WIDOWS (2003) DIR Catherine Corsini PROD Philippe Martin SCR Catherine Corsini, Philippe Blasband, Christophe Morand CAM Jeanne Lapoirie ED Yannick Kergoat MUS Krishna Levy CAST Jane Birkin, Émilie Dequenne (Laurence Milcaux), Pierre Richard, Clovis Cornillac, Jérémie Elkaïm, Laurent Grévill, Amera Casar
L’AMÉRICAIN, a.k.a. THE AMERICAN (2004) DIR Patrick Timsit PROD Thomas Anargyros, Edouard de Vésinne SCR Patrick Timsit, Jean-Carol Larrivé CAM Pierre Morel ED Marcela Figueroa, Catherine Renault MUS Nicolas Errèra CAST Lorànt Deutsch, Thierry Lhermitte, Émilie Dequenne (Nelly), Patrick Le Luherne, Paolo Seganti, Mathias Mlekuz, Richard Berry
L’ÉQUIPIER, a.k.a. THE LIGHT (2004) DIR Philippe Lioret PROD Christophe Rossignon SCR Philippe Lioret, Emmanuel Courcol, Christian Sinniger (original idea by Gilles Legrand) CAM Patrick Blossier ED Mireille Leroy MUS Nicola Piovani CAST Sandrine Bonnaire, Philippe Torreton, Grégori Derangère, Émilie Dequenne (Brigitte), Anne Consigny, Martine Sarcey, Nicolas Bridet
THE BRIDGE OF SAN LUIS REY (2004) DIR Mary McGuckian PROD Mary McGuckian, Garrett McGuckian, Michael Cowan, Denise O’Dell SCR Mary McGukian (novel by Thornton Wilder) CAM Javier Aguirresarobe ED Kant Pan MUS Lalo Schifrin CAST Robert De Niro, Bates, Gabriel Byrne, Harvey Keitel, F. Murray Abraham, Geraldine Chaplin, Émilie Dequenne (Doña Clara), Samuel Le Bihan, Pilar López de Ayala, Jim Sheridan
AVANT QU’IL NE SOIT TROP TARD (2005) DIR Laurent Dussaux PROD Frédéric Bal, Véronique Rofé SCR Alain Layrac CAM Myriam Vinocour ED Loïc Jaspard MUS Loïc Dury, Aymeric Penguin, Aymeric Béguin CAST Frédéric Diefenthal, Émilie Dequenne (Aurélia), Elodie Navarre, Olivier Sitruk, Edouard Montoute, Lisa Martino, Vanessa Larre, Eric Savin, Arthur Jugnot
LES ÉTATS-UNIS D’ALBERT (2005) DIR André Forcier PROD Yves Fortin, David Kodsi, André Martin SCR André Forcier, Linda Pinet CAM Daniel Jobin ED Elisabeth Guido MUS Jean-Philippe Héritier CAST Éric Bruneau, Émilie Dequenne (Grace Carson), Andréa Feréol, Roy Dupuis, Céline Bonnier, Laurent Deshusses, Alex Descas
LA RAVISSEUSE, a.k.a. A SONG OF INNOCENCE (2005) DIR Antoine Santana PROD Daniel Leconte SCR Antoine Santana, Véronique Puybaret CAM Giorgos Arvanitis ED Nadine Verdier CAST Isild Le Besco, Émilie Dequenne (Charlotte), Grégoire Colin, Anémone, Frédéric Pierrot, Bernard Blancan, Christian Gasc
LE GRAND MEAULNES (2006) DIR Jean-Daniel Verhaeghe PROD Pascal Houzelot SCR Jean-Daniel Verhaeghe, Jean Cosmos (novel by Alain-Fournier) CAM Yves Lafaye ED Dominique Faysse MUS Philippe Sarde CAST Nicolas Duvauchelle, Jean-Baptiste Maunier, Clémence Poesy, Jean-Pierre Marielle, Philippe Torreton, Émilie Dequenne (Valentine), Malik Zidi, Valérie Stroh, Florence Thomassin
ÉCOUTE LE TEMPS, a.k.a. FISSURES (2006) DIR – SCR Alante Kavaite PROD Antoine Simkine CAM Dominique Colin ED Agnès Mouchel CAST Émilie Dequenne (Charlotte), Mathieu Demy, Ludmila Mikaël, Jacques Spessier, Etienne Chicot, Eva Ionesco, Gilles David, Joël Lefrançois, Bruno Flender
CHACUN SON CINÉMA OU CE PETIT COUP AU COEUR QUAND LA LUMIÈRE S’ÉTEINT ET QUE LE FILM COMMENCE, a.k.a. TO EACH HIS OWN CINEMA (2007) DIR Theodoros Angelopoulos, Olivier Assayas, Billie August, Jane Campion, Youssef Chahine, Kaige Chen, Michael Cimino, Ethan Coen, Joel Coen, David Cronenberg, Jean-Pierre Dardenne, Luc Dardenne, Manoel de Oliviera, Raymond Depardon, Atom Egoyan, Amos Gitai, Hsiao-Hsien Hou, Alejandro G. Iñárritu, Aki Kaurismäki, Abbas Kiarostami, Takeshi Kitano, Andrey Konchalovskiy, Claude Lelouch, Ken Loach, David Lynch, Nanni Moretti, Roman Polanski, Raoul Ruiz, Walter Salles, Elia Suleiman, Ming-liang Tsai, Gus Van Sant, Lars von Trier, Wim Wenders, Kar-Wai Wong, Yimou Zhang PROD Denis Carot, Robert Benmussa, Sandrine Brauer, Laura Briand, Rachel Curl, Gilles Ciment, Sergei Davidoff, Gilles Jacob, Aki Kaurismäki, Takeshi Kitano, Serge Lalou, Marie Masmonteil, Masayuki Mori, Rebecca O’Brien, Jacky Yee Wah Pang, Roman Polanski, Katrine Sahlstrøm, Alain Sarde, Vincent Wang, Corinne Golden Weber, Kar-Wai Wong, Takio Yoshida SCR Jean-Pierre Dardenne, Luc Dardenne, Manoel de Oliviera, Atom Egoyan, Olivier Assayas, William Chang, Amos Gitai, Alejandro G. Iñárritu, Aki Kaurismäki, Andrey Konchalovskiy, Nanni Moretti, War-Wai Wong, Yimou Zhang, Jingzhi Zou CAM Marc-André Batigne, Jacques Bouquin, Inti Briones, Dirk Brüel, Nick de Pencier, Eric Alan Edwards, Greig Fraser, Francis Grumman, Pung-Leung Kwan, Steven Lubensky, Emmanuel Lubezki, Alain Marcoen, Ramses Marzouk, Francisco Olivera, Alessandro Pesci, Mauro Pinheiro Jr., Andreas Sinanos, Masha Solovyova, Shinzi Suzuki, Alberto Venzago, Xiaoding Zhao, Xiaoshi Zhao ED Luc Barnier, William Chang, Long Cheng, Alexandre de Franceschi, Marie-Hélène Dozo, Olga Grinshpun, François Gédigier, Takeshi Kitano, Bodil Kjærhauge, Véronique Lange, Giuseppe Leonetti, Valérie Loiseleux, Stephen Mirrione, Gabriel Reed, Susan Shipton, Yannis Tsitopoulos MUS Mark Bradshaw, Howard Shore, Mychael Danna, Eleni Karaindrou CAST Isabelle Adjani, Anouk Aimée, Josh Brolin, David Cronenberg, Émilie Dequenne (The Crying Woman, segment ‘Dans l’obscurité’), Jean-Claude Dreyfus, Michael Lonsdale, Jeanne Moreau, Brooke Smith, Lars von Trier
LA VIE D’ARTISTE (2007) DIR – SCR Marc Fitoussi PROD Carole Scotta, Simon Arnal, Caroline Benjo, Barbara Letellier CAM Pénélope Pourriat ED Serge Turquier MUS Tim Gane, Seán O’Hagan CAST Sandrine Kiderlain, Émilie Dequenne (Cora), Denis Podalydès, Valérie Benguigui, Grégoire Leprince-Ringuet, Jean-Marie Winling, Alain Libolt, Maria Schneider
LA FILLE DE RER, a.k.a. THE GIRL ON THE TRAIN (2009) DIR André Téchiné PROD Saïd Ben Saïd SCR André Téchiné, Jean-Marie Besset, Odile Barski (play by Jean-Marie Besset) CAM Julien Hirsch ED Martine Giordano MUS Philippe Sarde CAST Émilie Dequenne (Jeanne), Catherine Deneuve, Michel Blanc, Ronit Elkabetz, Mathieu Demy, Nicolas Duvauchelle, Jérémy Quaegebeur
J’AI OUBLIÉ DE TE DIRE, a.k.a. I FORGOT TO TELL YOU (2009) DIR – SCR Laurent Vinas-Raymond PROD Pascal Servais CAM Gérard Sterin ED Agathe Cauvin MUS Joanna Bruzdowicz Cali CAST Omar Sharif, Émilie Dequenne (Marie), Franck Gourlat, Anne Canovas, Olivier Brun, Jérôme Pouly, Philippe Laudenbach, Valérie Baurens
LA MEUTE, a.k.a. THE PACK (2010) DIR – SCR Franck Richard PROD Franck Ribière, Vérane Frédiani CAM Laurent Barès ED Olivier Gajan CAST Yolande Moreau, Émilie Dequenne (Charlotte Massot), Benjamin Biolay, Philippe Nahon, Matthias Schoenaerts, Ian Fonteyn, Georges Lini
À PERDRE LA RAISON, a.k.a. OUR CHILDREN (2012) DIR Joachim Lafosse PROD Jacques-Henri Bronckart, Olivier Bronckart SCR Joachim Lafosse, Matthieu Reynaert, Thomas Bidegain CAM Jean-François Hensgens ED Sophie Vercruysse CAST Tahar Rahim, Niels Arestrup, Émilie Dequenne (Murielle), Stéphane Bissot, Mounia Raoui, Radouane Behache, Baya Belal, Nathalie Boutefeu, Yannick Renier
LA TRAVERSÉE, a.k.a. THE CROSSING (2012) DIR Jérôme Cornuau PROD Yves Marmion SCR Jérôme Cornuau, Alexandra Deman CAM Jean-Paul de Zaeytijd ED Brian Schmitt MUS André Dziezuk CAST Fanny Valette, Émilie Dequenne (Sarah Arendt), Michaël Youn, Pauline Haugness, Jules Werner, Jean-François Wolff
MÖBIUS (2013) DIR – SCR Éric Rochant PROD Mathias Rubin, Christophe Cervoni, Eric Juhérian CAM Pierre Novion ED Pascale Fenouillet MUS Jonathan Morali CAST Jean Dujardin, Tim Roth, Cécile De France, Émilie Dequenne (Sandra), John Lynch, Maxim Vitorgan, Brad Leland, Branka Katic, Dean Constantin
DIVIN ENFANT (2014) DIR Olivier Doran PROD Christian Gozlan, Nicolas Steil SCR Olivier Doran, Patrick Lefèbvre CAM Philippe Guilbert ED Emma Baude MUS André Dziezuk CAST Sami Bouajila, Émilie Dequenne (Sarah), Géraldine Pailhas, Guillaume de Tonquédec, Linh-Dan Pham, Pascal Demolon, Marco Prince, Natacha Lindinger
PAS SON GENRE, a.k.a. NOT MY TYPE (2014) DIR Lucas Belvaux PROD Patrick Sobelman, Patrick Quinet SCR Lucas Belvaux (novel by Philippe Vilain) CAM Pierric Gantelmi d’Ille ED Ludo Troch MUS Frédéric Vercheval CAST Émilie Dequenne (Jennifer), Loïc Corbery, Sandra Nkake, Charlotte Talpaert, Anne Coesens, Daniela Bisconti, Didier Sandre
PAR ACCIDENT, a.k.a. BY ACCIDENT (2015) DIR – SCR Camille Fontaine PROD Denis Carot, Marie Masmonteil CAM Elin Kirschfink ED Albertine Lastera, Marion Monnier MUS Christophe CAST Hafsia Herzi, Émilie Dequenne (Angélique), Mounir Margoum, Emmanuel Salinger, Thelma Deroche Marc, Roméo Escala, Béatrice Mendolia
MAMAN A TORT (2016) DIR – SCR Marc Fitoussi PROD Caroline Bonmarchand CAM Laurent Brunet ED Damien Chesnot CAST Jean Jestin, Émilie Dequenne (Cyrielle Le Quellec), Nelly Antignac, Camille Chamoux, Annie Grégorio, Sabrina Ouazani, Jean-François Cayrey, Stéphane Bissot
CHEZ NOUS, a.k.a. THIS IS OUR LAND (2017) DIR Lucas Belvaux PROD David Frenkel, Patrick Quinet SCR Lucas Belvaux, Jérôme Leroy CAM Pierric Gantelmi d’Ille ED Ludo Troch MUS Frédéric Vercheval CAST Émilie Dequenne (Pauline Duhez), André Dussollier, Guillaume Gouix, Catherine Jacob, Anne Marivin, Patrick Descamps, Charlotte Talpaert
AU REVOIR LÀ-HAUT (2017) DIR Albert Dupontel PROD Catherine Bozorgan SCR Albert Dupontel, Pierre Lemaitre (book by Pierre Lemaitre) CAM Vincent Mathias ED Christophe Pinel CAST Mélanie Thierry, Laurent Lafitte, Émilie Dequenne (Madeleine), Niels Arestrup, Albert Dupontel, Nahuel Pérez Biscayart, Travis Kerschen
JEAN MOULIN (2002) DIR Yves Boisset PROD Florence Dormoy, Jean Labib, Joëy Faré SCR Dan Franck (characters created by Pierre Péan) CAM Yves Dahan ED Laurence Leininger MUS Jean-Claude Nachon, Angélique Nachon CAST Charles Berling, Elsa Zylberstein, Émilie Dequenne (Lili), Christine Boisson, Christophe Malavoy, Jérémie Renier, Jean-Pierre Donnadieu, Brigitte Catillon
HENRY DUNANT: DU ROUGE SUR LA CROIX, a.k.a. HENRY DUNANT: RED ON THE CROSS (2006) DIR Dominique Othenin-Girard PROD Knut Orgis, Philippe Berthet, André Martin, Ève Vercel, Sigi Borutta SCR Claude-Michel Rome (adaptation by Dominique Othenin-Girard; original idea by Claire Level) CAM Vincent Jeannot ED Didier Ranz, Maya Schmid MUS Didier Julia CAST Thomas Jouannet, Émilie Dequenne (Cécile Thuillier), Noémie Kocher, Michel Galabru, Jean-François Balmer, Vincent Winterhalter
CHARLOTTE CORDAY (2008) DIR Henri Helman PROD Jean Nainchrik SCR Henri Helman, Odile Barski (book ‘On ne meurt qu’une fois: Charlotte Corday’ by Jean-Denis Bredin) CAM Bernard Malaisy ED Marie-Françoise Michel MUS Marc Marder CAST Émilie Dequenne (Charlotte Corday), Bernard Blancan, Thierry Gibault, Marc Fayet, Raphaël Personnaz, Martine Gautier
MIROIR, MON BEAU MIROIR (2008) DIR Serge Meynard PROD Bénédicte Lesage, Ariel Askézani SCR Serge Meynard (novel ‘Un bel âge pour mourir’ by Barbara Abel) CAM Bruno Privat MUS Éric Neveu CAST Marie-France Pisier, Émilie Dequenne (Marion), Malik Zidi, Michel Aumont, Romann Berrux, Sophie Le Tellier, Noémi Kocher
RIEN DANS LES POCHES (2008) DIR Marion Vernoux PROD Alain Chabat, Armandine Billot, Christine Rouxel SCR Marion Vernoux, Laëtitia Trapet CAM Vincent Muller ED Laure Marcier MUS Nico Bogue CAST Emma De Caunes, Cécile Cassel, Nicolas Bogue, Émilie Dequenne (Judith Miro), Alain Chabat, Elio
OBSESSION(S) (2009) DIR Frédéric Tellier PROD Christophe Carmona, François Charlent SCR Franck Thilliez CAM Matias Boucard ED Stratos Gabrielidis MUS Christophe Lapinta CAST Émilie Dequenne (Sarah Lisbourne), Samuel Le Bihan, Olivier Sitruk, Lionnel Astier, Lannick Gautry
MYSTÈRE AU MOULIN ROUGE, a.k.a. MYSTERY AT THE MOULIN ROUGE (2011) DIR Stéphane Kappes PROD Stéphane Moatti SCR Elsa Marpeau, Mathieu Missoffe CAM Stéphane Cami ED Bénédicte Gellé MUS François Castello CAST Émilie Dequenne (Diane Barraud), Grégory Fitoussi, Dominique Besnehard, Adrienne Pauly, Marius Colucci, Guy Lecluyse
SOUVIENS-TOI, a.k.a. REMEMBER ME (2015) DIR Philippe Venault PROD Thomas Anargyros, Edouard de Vésinne SCR Sabine Carion, Philippe Madral (novel by Mary Higgins Clark) CAM Yves Lafaye ED Aurique Delannoy MUS Fabrice Aboulker CAST Émilie Dequenne (Émilie Auclair), Patrick Mille, Benjamin Bellecour, Sophie-Charlotte Husson, Pauline Serieys