«Cascadeuses», more rock than expected

StuntwomenA shadowy profession in the feminine plural, the subject of Elena Avdija's documentary. A triple portrait that brilliantly questions representations of violence on our screens. Freeze frame, time to chat with the director.

In the eyes of’Elena Avdija, the «real» title of the movie remains Playing the Villain: «I was tired of explaining that it had nothing to do with «acting like a guy,» so we changed it to Stuntwomen.» The final title of her first feature film brings to light those who aren't always listed in the film credits—either due to time constraints or simply to maintain the illusion that the stars carry out their actions themselves. Thus, one after another, Virginie, Petra, and then Estelle are introduced by a title card displaying their first names in red capital letters on a black background. The transitions between moments in each of their lives are seamless; the hour and a half flies by. The editing, handled by Myriam Rachmuth—winner of the 2021 Swiss Film Award for Best Editing for Little sister – is neither repetitive nor overly predictable.

Early research for the documentary led Elena Avdija to meet Virginie Arlaud, France’s leading stuntwoman, who now prefers to work as a stunt coordinator—a field that remains very male-dominated. In one scene in particular, she appears cut off from the others after the debriefing for a stunt she is coordinating. This is the result of a clear editorial decision to use shots in which Virginie is physically isolated. In fact, the crew recalls feeling a distinct disconnect between her and her male colleagues that day, in addition to the difficulty they faced in filming her at her workplace.

The director drew on her longstanding friendship with Virginie to film the latter’s relationship with her daughter, which she felt was a more compelling subject to explore. She, however, drew on her own relationship with Virginie by conducting a filmed interview with her between training sessions, an excerpt of which appears toward the end of the documentary. This was an excellent way to capture the experienced stuntwoman’s words without trapping her in a narrative that wasn’t her own. A balancing act for the documentary filmmaker, who holds a degree in sociology and is already well-informed and equipped to navigate the world of stunt work and how it operates. 

Le Regard Libre: How did the shoot with Estelle Piget go at the CUC, the physical stunt training center based in northern France?

Elena Avdija: It was really easy, because the school wants visibility. There were always crews from France 2, M6… They’re really trendy. When we came back three months later and still didn’t have anything to show, they didn’t immediately understand that it was a long-term project. In fact, in its communications, the school highlights women badass in their videos, which completely obscures the fact that things are different in the industry. 

Full-screen video clips immerse us in several movie scenes the protagonists have worked on. Is this still affordable, financially? 

The copyright fees cost a fortune: 50,000 francs. We knew the archives would be expensive—it was part of the budget. But it was worth it! Virginie’s archives, for example, help put the experiences of the young stuntwomen into perspective—especially Estelle, who’s in a bit of denial. This allowed us to convey our message without stating it explicitly. 

Were there any well-known documentaries about the stunt industry—particularly American ones—that came to mind?

Oh yeah. I freaked out when I saw that this movie was coming out, Stuntwomen: The Untold Hollywood Story (2020). I cried. I’d been working on it for so long. It took me a while to watch it—I was in denial. When we went to the United States to film Petra Sprecher, I really had to watch it, because the next day we were meeting with people who were potentially in Stuntwomen (2020)… I finally watched it. It’s not the same kind of crazy at all. Michelle Rodriguez [an actress known for the series Fast and Furious] appears in the documentary, even though she isn't a stuntwoman. She's driven around by Debbie Evans, the specialist in mechanical stunts [in cars and on motorcycles] whom my team met while following Petra. As for movies, there's also Double Dare (2004), which I really liked. Both are very Hollywood-style: supercut, full of suspense… Americans can also be trash in a documentary. It has nothing to do with what we wanted to talk about with Stuntwomen.

Why did you choose Marzella for the remake of You Don't Own Me?

I wanted to work with a female duo from the area, which narrowed things down quite a bit. I also listened to some local bands. The film’s producer, Agnieszka Ramu (Bande à part Films), told me about Marzia and Ella. To be honest, I fell in love with their music right away—I really liked the folk vibe. The end credits music, You Don't Own Me, I’ve been listening to it for a long time. To me, we’re more than just the roles we’re given to play—Petra, Estelle, and Virginie all at once. I wanted the duo Marzella to cover this song in a more badass way. Their cover makes me want to go all out! It gives me chills every time. I have a playlist full of other folk-rock songs that I shared with the Marzel’s to inspire them, from Nancy Sinatra to Elynn the Green. We were editing the film with Myriam, and they were composing the soundtrack at the same time. They were very responsive. In the end, the soundtrack turned out to be a bit more rock than folk.

Read also | Marzella, a duo with a bright future ahead

A highly successful debut feature film that will spark greater interest in action movies or gender issues for some viewers. Perhaps it’s a way to view these works differently, by remembering that behind every «great» actress there’s a stuntwoman.

Preview screening at the Rex Cinema in Fribourg, with Elena Avdija and Myriam Rachmuth in attendance, followed by a discussion with Vanessa Cojocaru (Tea Room).

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Illustration: © Bande à part Films