Asked about the scene most difficult to play, Anna Agio said, "There was that picture. That picture I send to the guy, in which you can actually see only my naked back. But in front of the crew I felt exposed, and it was a delicate moment. Fortunately, as I said, I found a lot of delicacy, a lot of tact in the people I worked with."
|Le coeur noir des forêts
To play a pregnant girl, 16-year-old Elsa Houben had to use a prosthesis. "We used old-fashioned special effects. We used foam and a prosthesis when we saw my naked belly on the screen. It took just over 5 hours of posing and weighed 3kg, so I adopted the position of a pregnant woman quite naturally," Houben explained.
|Du som er i himlen
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.
|O Último Banho
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."
|La déesse des mouches à feu
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."
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."
|Le cas Perrot
Alexis Nativel revealed that the scene in the auditorium (where he's completely naked in front of a lot of people) was shot at the very end of their shoot week, so he had time to get used to the crew, the people, the atmosphere. "I was mentally ready, once I'm in the moment, I tell myself that I can't go back anyway. But I remember that at the beginning we shot this scene in shorts so that people could adapt a little bit and I tried to make the gallery laugh to relax everyone and put everyone at ease and gradually everyone was quiet," he recalled.
Although the role of Ava is 13, actress Noée Abita was 17 at the time. She was selected by Léa Mysius because her real age and young physical appearance were assets for the nude scenes, meaning she looked 13 physically but she was legally of age to perform nude. Abita initially refused to take her clothes off for the film, but the director finally convinced her to do it and she ended up shooting several scenes topless and fully nude. "I am not very modest by nature and I am almost more comfortable naked. At the beginning when I met Léa and I read the script, I told her that I would never shoot naked because it is not in my education, but as we worked together, I realized that I had no problem showing my breasts, being totally naked... Well, the scene where I bathe naked for example was shot almost at the end of the shooting, where it was still easier."
In interview https://www.bz-berlin.de/archiv-artikel/stars-aus-tigermilch-ganz-ehrlich-wir-hatten-nackt-doubles the girls were asked how did they feel running naked, and they laughed answering that it was made by body-doubles. Also, in the article mentioned before, the director said that they used body doubles for „sensitive scenes“ with no further explanations. But Flora Thiemann most definitely was not using a double. There are several occasions where you can see her face and her breasts in the same shot.
|Révolution Ecole: 1918 1939
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.
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