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Behind the scenes (112)

Du som er i himlen
Year: 2021
The scene where i was in nude front of mirror and the entire crew aswell, was actually the very shot on the very first day of the production. It was actually pretty cool to try, cause it's apart the industry with scenes like that. I was pretty comfortable with the director Tea Lindeburg so it wasn't uncomfortable at all. It was actually way harder for me a normal scene for me where i had to cry alot cause there was more emotions to deal with.

https://soundvenue.com/film/2022/02/flora-er-morgendagens-stjerne-i-dansk-film-niv-mig-saa-jeg-kan-vaagne-472218
La déesse des mouches à feu
Year: 2020
Kelly Depeault was 17-years-old at the time of filming this movie, where she has some nude and explicit sex scenes. While director Anaïs Barbeau-Lavalette admits that the shooting went smoothly, she also admits to having worked a lot with the actors during the sex scenes, the most delicate to stage, according to her. "That said, we really took care of it," she says. So in the end, it wasn't the scenes that were difficult. Dizzying and vulnerable, yes, but we had choreographed everything, down to the gesture. Nothing had been left to chance. We had a lot of hours of rehearsals for each of these scenes."

https://quebeccinema.ca/la-une/anais-barbeau-lavalette-adolescence-est-une-prise-de-risques
O Último Banho
Year: 2020
Asked about the scene where 14-year-old Martim Canavarro is seen completely naked in the bath being scrubbed by Anabela Moreira, director David Bonneville said: "I was worried about it because it was very important for the film to have this visual side of nudity, since it is something that is intrinsically linked to the story. Fortunately Martim accepted, with lightness, to do it. Some limits were set, but in the end Martim himself told me to enjoy the best scenes, regardless of whether there was more explicit exposure."

https://www.agendalx.pt/2021/06/27/david-bonneville/
La innocència
Year: 2019
Interview to director Lucía Alemany:
"One of the requirements that I wanted from Lis was that she have big tits," she tells us about the main character. "Because there is something there, in that «two days ago I was a girl, and right now I have something that is sexually super attractive»". It was also important for the director to show the girls in their underwear: "It is really very common when you are getting ready to go out, at your house with your friends, you go with those underwear. But I did not want it to have a sexualized look, because you are seeing a girl. But at the same time they are sexual objects."
(https://www.ecartelera.com/noticias/entrevista-la-inocencia-lucia-alemany-carmen-arrufat-58803/)
Révolution Ecole: 1918 1939
Year: 2016
Annotation to movie in 3 languages.

Ce film est entierement compose de photographies et films d’archives. Certaines de ces images, publiques ä l’epoque, representent des adultes et des enfants nus et peuvent heurter la sensibilite des spectateurs d’aujourd’hui.
Nous avons choisi de les montrer car ce sont des documents historiques qui participent ä la peinture la plus exacte possible des experiences educatives des annees 1920 et 1930, seule periode ä laquelle le film s’attache.

Der Film besteht zu einhundert Prozent aus Archivmaterial. Einige der damals veröffentlichten Bilder zeigen nackte Kinder und Erwachsene, die Zuschauer der heutigen Zeit als schockierend empfinden könnten.
Wir haben uns entschieden, diese Bilder dennoch zu zeigen, da es sich um historische Dokumente handelt. Sie dienen dazu, die Erziehungsmaßnahmen in den 1920er und 1930er Jahren - dem einzigen Zeitraum, über den im Film gesprochen wird - wahrheitsgetreu wiederzugeben.

The film consists of one hundred percent archive material. Some of the images published at the time show naked children and adults that today's viewers might find shocking.
We decided to show these pictures anyway, as they are historical documents. They are used to truthfully reproduce the educational measures in the 1920s and 1930s - the only period spoken about in the film.
Il ragazzo invisibile
Year: 2014
Is there any scene from the film that you liked the most?
"The funniest scene, in my opinion, is that of the girls' locker room, in this scene we all had a bit of fun."
On the screen we see you naked, but isn't it?
"No, I was practically always in my underwear, and then they made me naked by computer."

Source: https://www.mydreams.it/ludovico-girardello-il-ragazzo-invisibile-di-salvatores-un-giovane-supereroe-tutto-italiano/
Simindis kundzuli
Year: 2014
Mariam Buturishvili said the biggest difficulty for her during filming was the scene where she takes a dip in the river completely naked. "During the shooting of the last shots, in the beginning of November, I had to dive into the water. It was very cold. I was freezing," she said.

http://gza.kvirispalitra.ge/saxe/664-15-clis-arapropesionali-msaxiobis-didi-carmateba/
Ilo Ilo
Year: 2013
Koh Jia Ler, the first-time child actor in the award-winning local film Ilo Ilo, was caned for real several times in two takes while shooting a scene.
It is a literal example of how director Anthony Chen cracks the whip to achieve his vision.
Says Jia Ler, 12, whose mother was fine with the caning since she used to cane him when he was younger: "Anthony talked to me about it and I was fine with it. It was painful, but it's okay, because I know he wants everything as real as possible. The caning is just a small thing to me.
(http://www.herworld.com/celebs-men-sex/celebs/anthony-chens-ilo-ilo-real-it-gets)
Un amour de jeunesse
Year: 2011
You chose Lola Créton as the actress to represent yourself. Tell me about her – this film could make the next French star.
She was 16 when we began shooting, and I wanted to do something unusual. I'm always annoyed when films have actresses who are 27 playing teenagers. It always breaks the spell for me. So I wanted a real teenager here, even though this film does then span another 10 years. I thought it'd be a nice change to see someone playing older, even if they did look a bit young in the later stages. But Lola is so delicate and shy.
Like all French actresses, she seems very happy to get her clothes off.
Aha. You English always love that. I can say that for her it was actually a big deal. But what's amazing is that, when the cameras rolled, she was free and sensuous like a cat. It was as if she was discovering her own sexuality before our eyes, but, as soon as the filming stopped, she'd retreat behind sheets, clothes immediately.
She has a little craziness about her, like a young Adjani, but she's so shy with press, with me, with her mum. She's not at ease with words. I think she truly can only express herself through acting. It's her vocation.
(https://www.theguardian.com/theobserver/2012/apr/29/mia-hansen-love-french-director)
Tomboy
Year: 2011
It should be noted that with her chief operator, the director opted for long shots so as not to frustrate children in their game: few shots, but very long. The camera object had to be forgotten, the director was always at their side, spoke to them during the catch, entered the frame.
The scene, so delicate, of the nakedness of Laure and the revelation resulting from it, has been conscientiously put in place by Céline Sciamma. This scene is fundamental and Zoé Héran, from the script, knew he would have to turn naked. Her parents were present at the time of filming and this intense moment could only exist in the image if they gave their Agreement in view of the filmed sequence.
(https://clermont-filmfest.org/wp-content/uploads/2017/11/Tomboy-de-C%C3%A9line-Sciamma.pdf)

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