Louis Clichy recounts The Corset: “Above all, I hate stereotypes!”

A love story, a part of the countryside, a superhero film, a family chronicle, a Fordian elegy, a Powell-Pressburger set in Beauce… Is that too much for just one film? Too much for a single animated film? Louis Clichy takes up the gauntlet. Encounter.

It’s a story of complex(ies)

In The Corsetthe little guy is called Christophe, he could be called Louis, he grew up on a farm somewhere in Beauce, somewhere around the end of the 80s. He has a dad. Silent, the dad, with his big glasses and his big temper tantrums. He has a mother. Furrowed eyebrows and clenched jaws, with an apron and a straight head posture, halfway between the Fordian mater familias and a neorealist mamma à la Magnani. He has a little baby sister, who sticks out her tongue while eating cereal, and a big brother endowed with all the attributes of a big brother: stronger, closer to the father, closer to the earth, capable of a friendly pat on the back or a slap in the mouth, depending on the mood of the moment.

He has a family, which resembles quite a few families, from Beauce and elsewhere, with its own dynamics, its injustices, its out-of-time tenderness, its misunderstandings linked to knowing each other too closely, too closely, to the point of making communication impossible, of feeling misunderstood, out of place, looked at askance. In fact, Christophe is in trouble: his spine cannot stay in place. In every moment of weakness, anger, embarrassment or discomfort, it begins to lean, like a poorly watered flower stem. We’ll have to find a way to learn to stand up straight, my little man.

Burlesque and ridiculous mecha

“I had this idea for a short film with a boy as straight as an I in a tilted world… unless it was the opposite”remembers Louis Clichy. A film always starts from an intuition, from a movement…..