Second Maywenn Le Besco, better known as Maywenn, finding out where we come from is the best way to understand where we want to go. To explain it he made a film, DNA – The roots of love, distributed by Fenix Entertainment and available on Sky Cinema froml June 1st, in which she deals with a double theme that is particularly close to her heart: the personal elaboration of a pain and the discovery of its origins as a driving force for life and what it has to offer. In the film, which has the Cannes Film Festival badge despite not having been presented at the Croisette last year due to the pandemic, Maïwenn digs into herself to find the tools necessary to not get lost in the labyrinth that today’s identity can carry behind.
“Knowing what happened to our ancestors is essential to understand in which direction we want to go” Maïwenn explains in connection on Zoom, her hair down and a pair of large sunglasses framing her face. “Our generation hasn’t experienced wars, but hearing the details of those conflicts, such as that of Algeria, can help us recognize some hidden side of our temperament.”
The story of DNA – The roots of love, on the other hand, it starts from a very common trauma: the loss of a grandfather who years earlier fought the war in Algeria and who, with his disappearance, engages his family with a sort of emotional tsunami that will lead every close relative to cling to something in order to survive. Neige, the character played by Maïwenn, decides to take refuge in the search for identity and in a test that helps her understand the right percentage of her ancestry – half French, half Vietnamese and half Algerian -. Maïwenn also made a similar test, but the result chooses not to share it, leaving us in doubt (she too, like her character, is Franco-Algerian like her four brothers, all actors). Meanwhile, the film, which sees an important cast that goes from great Fanny Ardant and Louis Garrell that we saw in the last Woody Allen movie, Rifkin’s Festival, also addresses the very common, yet still particularly thorny, theme of grieving. In one scene, Maïwenn and Ardant approach the body of their deceased grandfather taking a selfie: a seemingly bizarre sequence but which, however, should not lead us to make a hasty judgment. “The pain of the death of a loved one can push us to do things that appear difficult to understand to those who do not experience that pain.”
“Someone once told me about a person who first made his hands and then took a picture of himself with a deceased loved one. That someone said to me: “But do you realize what a lack of respect?”. I, on the other hand, thought exactly the opposite: I saw a great respect and a great love in putting oneself in her best condition, making herself beautiful to pose next to her loved one who was no longer there. I understand that this scene can affect or even disturb, but one must never judge the behavior of someone who is facing great pain. Each of us experiences grief differently, and each of these ways is worthy of respect. In another scene, when the granddaughter kisses her dead grandfather on the mouth, it is as if she wanted to hold him to her, to catch that breath so as not to make him go away ». Death presupposes a certain freedom which, if we think about it, is what an actress-turned-director apparently dreams of being able to dispose of sooner or later in her career. However, Maïwenn, who made a total of five films – the one who consecrated her remains, however, Police, thanks to which she won the Jury Prize at Cannes in 2011 – she doesn’t think she is freer today than yesterday: «I have always felt quite free in what I did. Freedom and happiness must correspond to what I am able to do ». We insist on the theme of freedom because Maïwenn, for having defended Roman Polanski and criticizing Adèle Haenel, who abandoned the 2020 César ceremony in protest for her victory, has attracted criticism from many feminist groups and a large part of the press in France: today we are less free to say what do we think about yesterday? “We still have the freedom to express ourselves, the problem is the abundance of media that always take up what is said to share it at the right moment. I wouldn’t say there is less freedom. Indeed, we have a duty to keep saying the things we think, even if they are unpopular. It is the media that often amplify the feeling that we can no longer say anything ».
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