“It’s rock that allowed me to discover myself”

Unlike “Hate”, my character is 14 years old

Paul Kircher

​Paris Match. Ludovic and Zoran Boukherma chose to adapt the novel by Nicolas Mathieu, winner of the 2018 Goncourt Prize. Have you read it?
Paul Kircher. I discovered it at the same time as the script. It's amazing how they managed to convey the energy of the book in their film. We find the fury for life of these adolescents, but also this rock'n'roll touch which shakes the small town in which they grow up.

Both the novel and the film are full of references to the 1990s. There is, in particular, this scene where you look in a mirror, gun in hand, which evokes “Hatred”.
I wasn't inspired by a specific scene. Unlike “Hate”, my character is 14 years old. That of Vincent Cassel is in his twenties. When I hold this gun in my hand, it's like a child playing cowboy with a toy gun. He tries to draw inspiration from his youth idols, as masculine as Rocky Balboa and Bruce Lee. He acts proud, until he finds himself in front of Hacine, his enemy.

Juliette Binoche and Ludivine Sagnier shared with me a lot of what they are

Paul Kircher

You were also able to experience the Blues qualifying for the final of the 1998 World Cup, although in reality you were not born.
I must admit that I'm not a big fan of football, even if my family is always into it… But it was absolutely incredible to be able to immerse myself in this setting and this tricolor intoxication. There was something magical, almost timeless. I felt like a few elements of the book came to life again. Like ghosts. Especially since there was a crazy mist that evening.

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Anthony, your character, has a very strong bond with his mother. Just like the one you played in “The High School Student” by Christophe Honoré. What does this mean to you?
It was wonderful to receive so much kindness from Juliette Binoche and then from Ludivine Sagnier. They shared with me a lot of what they are. What I find interesting about these relationships is that mother and son are at different times in their lives. They don't have the same thoughts or the same concerns, but that doesn't stop them from teaming up, helping each other or teasing each other. It reminded me of my mother, at times.

There is absolutely no competition between Samy and me, quite the contrary. We get along really well

Paul Kircher

Was it she who passed on this passion for cinema to you?
Both my parents gave me the pleasure of playing. When we were little, Samuel and I spent our time backstage at the theaters, hanging out with actors… We all still live together, even if moments between the four of us have become very rare. Everyone is busy, everyone is doing their own thing. The great thing is that they understand me. Even though we all live on our planet!

During the 2024 César ceremony, you were nominated in the same category as your little brother, Samuel. He presented his first film, “Last Summer”, and you, “The Animal Kingdom”.
We were very happy to experience this together, in front of our mother installed in the audience to support us. Everything is still new to us. So much so that we didn’t see it coming! There is absolutely no competition between Samy and me, quite the contrary. We get along really well. We even share our Deezer account, so when one listens, it cuts off the other. [Il rit.] Obviously, I'm interested in the music he likes… I really like the Strokes or Arctic Monkeys, but I also love the songs of Nick Drake, whose story I find fascinating. If I had to play someone's biography, it would be that of this British musician, who died before achieving success.

I didn't really have any cinematic culture. I had seen a few films, but I didn't even remember their titles. The construction site seemed immense to me

Paul Kircher

For you, has cinema always been obvious?
Not really. I discovered the scene through music. In high school, I signed up for a singing class because I was impressed by an end-of-year performance. My comrades had amazed me. Some time later, in second grade, my teacher made me sing “Are You Gonna Be My Girl,” by Jet. It seemed like I was 10 years old, I was so small… Rock allowed me to discover myself. Then I played in lots of different bands.

How did you land your first role?
By chance. A friend of my father was working on a series. I passed the castings, but it didn't work. The casting director contacted me again for another project. I shot “T’as pécho?” the summer before starting college. I was doing geo at Diderot… [Il sourit.] After this first experience, I started going to auditions and watching a lot of films, since I didn't really have any cinematic culture. I had seen a few of them, but I didn't even remember their titles. The construction site seemed immense to me.

Requiem for a Dream” had a profound impact on me

Paul Kircher

What did you start with?
My father advised me to watch “Two Lovers” and “The Night Belongs to Us” by James Gray. It was a real crush, so I devoured all his films, then those of Sidney Lumet. I then discovered the work of the Dardenne brothers, then that of Jacques Audiard. Today, I am a fan of “Arizona Dream”, by Emir Kusturica, and “Last Days”, by Gus Van Sant, with whom I dream of working. And also “Requiem for a Dream”, which I think of often, which had a profound impact on me.

Last September, the jury of the Venice Film Festival, of which James Gray was a member, decided to award you the revelation prize. What does it feel like to be in front of him?
When we were watching the film, I had a hard time realizing he was in the theater. I kept saying to myself: “This is incredible. It’s incredible.” I was so proud that the jurors decided to award me this prize, even if trophies cannot be a goal in themselves. Ultimately, awards don't mean much.

We do a pretty disturbing job… The minimum is that everyone feels safe on set

Paul Kircher

What do you think of #MeToo and the revolution that cinema has been experiencing in recent years?
It will never be the same again. When I attended Judith Godrèche's speech, during the last César ceremony, and I saw the enthusiasm of the public, I said to myself that it is impossible that the message is not understood. His words enlighten people. I have confidence in what is happening. Everything is changing. We do a pretty disturbing job… The minimum is that everyone feels safe on set.

Have you asked your parents about this? Everything was much more taboo in their time…
They talk about it themselves sometimes, and tell us old anecdotes. But never anything sexual.

In “Their Children After Them”, there are several love scenes. How did you approach them?
Generally, I don't think about it too much, and then, the day before, I start to get slightly stressed. The first take is always a little weird, but since everything is very choreographed, it quickly gets better. Once the dance of the bodies is well integrated, I find it interesting to work on your character in these intimate moments. It allows you to express new things. It's really good that we pay attention to what happens during the filming of these love scenes, that there are lots of warnings. A security framework is essential to feel more confident.

I feel like this job can excite me for a long time, so as long as I'm needed, I'll be there

Paul Kircher

How do you experience fame at 22?
For now, I see it as an opportunity: it allows me to do what I love and meet a lot of people. What scares me is that it could change me. Or make me act differently. At the Cannes Film Festival or the Venice Film Festival, for example, you get a very intense adrenaline rush. I think we should not constantly chase these sensations. For a few days, everyone wants you. To come back down, it requires work on yourself. You have to take the time to understand each other.

Will cinema always be in your life?
I am someone who has difficulty projecting myself. There, I am focused on Hubert Charuel's film, “Météors”, in which I opposite Salif Cissé and Idir Azougli. I play the role of a young journalist. Adolescence is behind him, so it's very different from my previous films. This time, my character echoes my situation. My roles evolve over the years. I feel like this job can excite me for a long time, so as long as I'm needed, I'll be there. In quieter moments, I feel like I need to do things on my own. The goal is not to escape the cinema industry, but I don't want to be the one who stays glued to his phone, waiting for someone to call him. I think it's important to build other things elsewhere. I do a job where you can be the talk of the town one night, and the next day, nothing.