Le Beau Monde
Rebelling Against the Rules of Etiquette
Directed by Eleonora Cristin
Interview by Tatevik Avetisyan
Originating among the nobles in early modern France, etiquette is a consciously developed set of written rules for polite social interactions that most consider a fundament for appropriate behaviour. Can you attend a party uninvited? Is leaving your partner alone at the table side to enjoy the music on the dancefloor against the norms of bon ton? Is it appropriate for a well-mannered lady to gossip? These firmly imprinted conventions inspired Eleonora Cristin, an Italian film director and editor based in London, to break the norms within society and visualise it through a moral narrative – Le Beau Monde.
Invitation, table, dance floor and gossip - these are the four etiquette focuses of young girl Annette - Le Beau Monde's leading heroine - who responds to set conventions through rebellion. The host or perhaps teacher, that is a fish head, brings double meaning into the plot and pushes the viewer to connect the dots of various interpretations. The amalgamation of fashion, visual communication, and the social theme in the epicentre of the action builds on the notion of questioning the constructed standards within a culture.
Intrigued by storytelling, Eleonora combined her interest in fashion aesthetics with social anthropology to portray stories inspired by personal events and social issues. Balancing her work between the position of Video Lead for Harper’s Bazaar and ELLE UK and building her portfolio, Eleonora conquers short film festivals with a motivation to evoke emotions and consciousness in spectators. She shares the behind-the-scenes of Le Beau Monde, the insight into the symbolism of Annette and her personal experience of working with major brands in the industry.
How would you describe Le Beau Monde’s concept? Is it a simple introduction to etiquette or a satire of how certain social norms become redundant?
While thinking about the concept behind Le Beau Monde, I was looking for a way to break norms and conventions within society, especially what concerns rules and visual communication in the fashion industry, that I find were often redundant and mainly based more on aesthetics rather than being used as a real communicational tool.
During this process I was working closely with Kim Latieule, the film’s stylist, who has been raised in Paris. Together we explored how Parisien girls are often portrayed as rebellious, yet chic. These combinations of elements inspired and brought me to the redundant world of ‘etiquette’, which found its origins among the nobles in early modern French society. Although it might appear retro, I felt it was a simple and commonly understandable way to approach the theme of “being a rebel against conventions without losing our fashionability”.
Looking through your previous works - Spit it Out / A sparkle uprising, The Beauty Tutorial – we see a strong narrative approach in portraying a concept or value. What was the narrative approach in telling the story of Annette?
I am constantly developing my narrative, and I find myself going towards a more fictional approach. In this particular case, I wanted to keep the feeling of retro and old-fashioned storytelling, suggested by the theme itself, in juxtaposition with the surreal world I have imagined and created to define society and norms. I wanted each element of the story, the characters, the set design, the cinematography, and the music to come across separately and clearly, but without giving too much information (if not the essential one) and allowing the viewer to have their own interpretation. The film is filled with hidden metaphors and wrong approaches to the fashionable norms of etiquette. Can you find them all?
Who is Annette? Should we look at the main protagonist of Le Beau Monde as a metaphor or representative of a bigger society?
I believe we can all identify ourselves with Annette. This piece was filmed just before the pandemic started, and while post-producing it, I wondered if it was the right time for this film to be shown outside. I wasn’t reconsidering my position on the theme, but it was a very sensitive time, when we were asked to follow some rules in light of a major problem that was upon us. But when I decided and started to apply to the festival circuit, I think it was when we all felt forced to unconditionally follow questionable rules going against the basic element of society and interactions. And I think that this was the main reason that made Annette so powerful and perceived both as a hero and an antagonist - she just doesn’t give a f**k and finds her way to be herself and navigate a stinky society with grace.
What is the role of a fish in the narrative; is there a hidden meaning behind it?
In Italy, we have this dictum that says “Guests, like fish, stink after three days.” While thinking about Le Beau Monde and etiquette, in general, this aphorism came into my mind. I questioned it in relation to society: “What stinks nowadays? Is it the freedom to be yourself or is it what society wants you to be?” I think the answer is somewhat clear to many of us, so I decided to reverse the meaning of that metaphor and yes, again, change the rules! With the help of the incredible Isabella Bruno (Set designer) and Anton Smári Gunnarsson (Cinematographer), we then created an entire surreal world around Sir Weed (the fish head). Every little piece in the house is tailored around what we thought could be his taste and, yet his society. The role of Joanna (the real fish) is the metaphor of what I see as someone being forced to conform to it, living in a fish ball with little freedom to move, think and see clearly.
“The film is filled with hidden metaphors and wrong approaches to the fashionable norms of etiquette”
Tell us about your creative journey. How did your Italian roots and English setting nurture your artistic choices?
It might sound redundant but growing up in Italy, studying art, and being surrounded by beauty every day gave me a strong aesthetic approach and vision but with a sense of elderly structure that I feel overflowing. While moving to England I was mesmerised by the freedom in the research toward innovations and experimentation that I could not find anywhere else. The possibility to undertake both my roots and new approaches makes my work more fun and freer.
London especially is a city in which different cultures worldwide are mixing. As I strongly believe that a film is a piece of collaboration between different minds, it is also a great place to be able to create something unique and unified.
In your portfolio of personal works, you focus on social norms and feminism. Which aspects within these themes are you most interested in exploring? Why?
I have a deep interest in sociology and anthropology, I like to understand the culture we are surrounded by, and I find myself questioning it quite often. My personal projects generally came from intimate or general experiences and feelings. For example, my experimental short film Spit it Out, was my contribution to the worldwide uprising of women during the Trump election in 2017. Another film - Eggs Quarantine - realised in a collaboration with singer and music producer HEZEN, is a satirical example of the quarantine days and absurd rules we were forced to follow during those difficult times.
I am also currently attending a Master’s in Visual Anthropology at Goldsmiths University of London, feeling that an academic approach combined with my emotional response to society will help my work to evolve, become flexible and adaptable to the current but always committed to being present and in service for others.
What challenges did you face while making the film?
I was lucky enough to not face any significant challenges during the productions of Le Beau Monde, if not the usual lack of budget for a personal project: we all know about it! But the post production took place during the pandemic. With Alex Gruz, the amazing composer of the soundtrack, we recorded a real violin and accordion but aware of the ‘stay at home’ guidance that sounds against all themes of the film, we decided to do it via Zoom. We then met online one afternoon with Sam and Molly, each of us in our respective homes, and to be honest, I had no idea how Alex and the musicians managed to bring home the complete piece with all the problems with online connection. But they did it, and as you can see, it sounds incredible!
Being a Video Lead for Harper’s Bazaar and ELLE UK, and having already worked with major brands such as Dior, Polaroid, Sephora and more, do you have any advice to share with directors starting to work with fashion films on how to work with brands?
It took a while for me to be able to choose what I wanted my career to be, and to be honest with you, it is still evolving. Once you become clear within yourself and work hard toward that goal, things become possible. Working in this industry isn’t an easy job. There are great and for sure better directors or videographers around; this industry is full of compromise and great minds that need to find a way to work together. Be adaptable and know that whatever you are working on, also in the role of a director, is a collaboration among all the people involved in the project. Everyone in their roles is important, and one needs to be able to express themselves in their best.
The second piece of advice I have is to take time for yourself and explore your personal art needs and thoughts. It will allow you to keep your mind and work fresh and don’t get you to fall into a breakdown; you are unique!
Are you currently working on new projects?
In the last few years, I have written a few scripts that I am trying to produce while also being lucky to work and collaborate on great projects for big brands. As said before, I have also embarked on a Master's, and I am taking the time to dig deeper into whatever will be next for me. So, no spoiler alert yet, but many to come.
Written and Directed by Eleonora Cristin
Produced by What a Life Production
CAST
Annette - Iva Litova
Sir Weed - Piotr Sell
Joanna - Joanna
Driver - Stanislav Bříza He also took the backstage picture
CREW
Director of Photography - Anton Smári Gunnarsson
Art Director - Isabella Bruno
First Assistant Director - Ari Rissotti
Focus puller - Aanil Duru
2ND Assistant Camera - Brent Clegg
Gaffer - Marina Lewin R
Spark - Andrea Sarcinelli
D.I.T. - Ellie C. Bright
Sound - Stanislav Bříza
Script Supervisor - Guido Tarricone, Gully Niu
ART DEPARTMENT
Set Designer - Isabella Bruno
Set Designer Assistant - Renata Carrillo
Special Effects - Serena Taccola
Location - Rachael Barraclough
GROOMING
Stylist - Kim Latieule
Styling Assistant - Jia Wang
Make-up and Hair - Kristina Pavlov
MUSIC
Composer - Alex Gruz
Violin - Molly Cockburn
Accordion - Sam Mason
POST PRODUCTION
Editing - Eleonora Cristin
Grading - Katie Dymmock for COFFEE&TV
Graphics - Travis Crowther
Foley Mix -Joe Bosworth
FASHION
ALEXANDRA HAKIM, Alighieri, Ana Herzig, ASV Comms,
LANVIN, Maison Vermillion, Mané, Mark & Spencer, NOFA, Prada,
Royal National Theatre, Topshop, Young British Designers.
In partnership with
ARRI RENTAL, COFFEE&TV, GREENKIT, SMILING FOX