Mind-Blowing: “Death Does Not Exist” Director Reveals All

Félix Dufour-Laperrière’s Visionary Animated Film

Félix Dufour-Laperrière’s latest animated feature, “Death Does Not Exist,” is a timely and thought-provoking film that explores the impossibility of violence in a world where it exists. The film, which premiered in Directors’ Fortnight at the Cannes Film Festival, follows a young woman grappling with how far she is prepared to go in order to change the status quo.

Behind the Scenes of “Death Does Not Exist”

Inspiration and Storyline

The inspiration behind “Death Does Not Exist” came from the October Crisis, a period of political turmoil in Quebec in 1970, as well as Lewis Carroll’s “Alice in Wonderland.” The film’s storyline follows a young woman who flees into the forest after an attack on landowners goes horribly wrong, and explores the impossibility of violence in a world where it exists.

Co-Production and Sales

The film is a co-production between Embuscade Films and Miyu Productions, with Best Friend Forever handling international sales. The film has also been acquired by UFO Distribution for French rights and Maison 4:3 for Canadian rights.

Cannes Debut and Festival Lineup

“Death Does Not Exist” premiered in Directors’ Fortnight at the Cannes Film Festival, alongside other Canadian films such as “Nirvana the Band the Show the Movie” and “Universal Language.” The film will also screen at the Annecy International Film Festival.

The Impact of Canadian Cinema

Shifting the Conversation

Canada is on a mission to shift the conversation from the havoc U.S. tariffs could wreak on the global film industry to the benefits of creative collaboration and co-production with Canadian talent and companies. Recent successes such as “Nirvana the Band the Show the Movie” and this year’s festival and market titles reveal that Canadian filmmakers are twisting horror and comedy into new shapes and reinforcing the country’s historic strongholds of animation and documentary with new ideas.

Indigenous Films and Creators

Indigenous Canadian films, creators, and companies are a catalyst in this gradual paradigm shift and have become a regular active presence at major festivals and markets. Producer Sylvain Corbeil’s Metafilms has brought films by Xavier Dolan, Monia Chokri, Denis Côté, and Charlotte Le Bon to Cannes, and this year has Montreal writer-director Anne Émond’s sixth film, “Peak Everything,” premiering in Directors’ Fortnight.

Arthouse Cinema in Canada

Canada is home to a unique brand of arthouse cinema that is unafraid to express itself in unusual ways. According to producer Sylvain Corbeil, “We do arthouse cinema in Canada. We don’t live in the U.S., so there’s less pressure from the market, and that allows more freedom for arthouse cinema to express itself in unusual ways.”

“Death Does Not Exist” and the Impossibility of Violence

“Death Does Not Exist” is a story about radicality, with all its contradictions, its hopes, and its dead ends. A story born from deep anger, from overwhelming desires that flare up to try and shake the world into motion – only to collide with the limits of their own actions, and their own internal tensions.”

The film explores the impossibility of violence in a world where it exists, and yet that impossibility happens in a world where violence exists. The film puts these complex questions in context and makes them felt through the image, colors, and visual treatment.

Radicality and Contradictions

Félix Dufour-Laperrière’s film, “Death Does Not Exist”, is a story about radicality, with all its contradictions, its hopes, its dead ends. A story born from deep anger, from overwhelming desires that flare up to try and shake the world into motion – only to collide with the limits of their own actions, and their own internal tensions.

The characters come to realize a clear, sometimes irreconcilable opposition: the impossibility of violence, and the impossibility of the status quo. This is a film that puts complex questions in context and makes them felt through the image, colors, and visual treatment.

Visual Treatment and Emotional Impact

The film’s use of image, color, and visual treatment is a key aspect of its emotional impact. By conveying complex questions and emotions through these visual elements, the film creates a sense of tension and unease that draws the viewer in.

The animation style is a blend of realistic and fantastical elements, reflecting the film’s themes of reality and fantasy. The color palette is muted, with a focus on earthy tones and deep blues, which adds to the sense of unease and tension.

The visual treatment is also used to convey the characters’ emotions and inner struggles. For example, when Hélène is feeling anxious or conflicted, the animation becomes more frenetic and chaotic, reflecting her inner turmoil.

Impact on the Audience

The film’s impact on the audience is significant, as it challenges viewers to confront the complexities of the world and their own roles in it. The film’s themes of radicality, violence, and the status quo are relevant to contemporary society, and the film’s use of animation makes these themes accessible and engaging for a wide range of audiences.

The film’s emotional impact is also significant, as it creates a sense of empathy and understanding for the characters and their struggles. The film’s use of animation and visual treatment creates a sense of intimacy and immediacy, drawing the viewer into the characters’ world and making their struggles feel more real and relatable.

Canadian Cinema and the Future

Holistic and Regionally Focused Companies

Canadian cinema is undergoing a significant shift, with a growing number of holistic and regionally focused companies producing auteur films that are redefining what Canadian cinema is. Indigenous Canadian films, creators, and companies are a catalyst in this gradual paradigm shift and have become a regular active presence at major festivals and markets.

This shift is driven by a desire to create films that are authentic and representative of Canadian culture and experiences. By focusing on regional and indigenous stories, these companies are creating a more diverse and inclusive film industry that reflects the complexity and diversity of Canadian society.

Netflix’s Love, Death + Robots

Experimental Animation and Storytelling

Netflix’s Love, Death + Robots is an experimental animated anthology series that showcases a wide range of animation styles and storytelling approaches. The show is a fever dream of extraordinary stories adapted by a team of unrivaled talent that delivers one gem after another.

The show’s creators, Tim Miller and David Fincher, have a clear vision for the series, which is to create a show that is both entertaining and thought-provoking. They achieve this by pushing the boundaries of animation and storytelling, creating a show that is both visually stunning and intellectually stimulating.

Adaptation and Interpretation

The show’s approach to adaptation and interpretation is a key aspect of its success. The creators work closely with the original authors to ensure that the stories are faithful to the original, while also bringing their own unique vision and interpretation to the project.

For example, the episode “Spider Rose” is based on a short story by Bruce Sterling, but the creators made significant changes to the ending to create a more impactful and thought-provoking conclusion. This approach to adaptation and interpretation is a hallmark of the show and sets it apart from other animated anthology series.

Talent and Collaboration

The talented team behind Love, Death + Robots is a key aspect of the show’s success. The creators, writers, and animators are a diverse and talented group of individuals who bring their own unique perspectives and skills to the project.

The show’s supervising director, Jennifer Yuh Nelson, is a highly respected animator and director who has worked on a number of successful animated films and TV shows. Her expertise and guidance have been invaluable in bringing the show to life.