{"id":4065,"date":"2026-07-13T06:37:04","date_gmt":"2026-07-13T06:37:04","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4065"},"modified":"2026-07-13T06:37:04","modified_gmt":"2026-07-13T06:37:04","slug":"denis-cotes-nobodys-violence-acquired-by-heretic-ahead-of-locarno-main-competition-premiere-exclusive","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4065","title":{"rendered":"Denis\u00a0C\u00f4t\u00e9\u2019s \u2018Nobody\u2019s Violence\u2019 Acquired by Heretic Ahead of Locarno Main Competition Premiere (EXCLUSIVE)"},"content":{"rendered":"
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\n\tHeretic has acquired world sales rights to \u201cNobody\u2019s Violence,\u201d the 17th feature from prolific Canadian auteur Denis\u00a0C\u00f4t\u00e9 which world premieres in main competition at the Locarno Film Festival.<\/p>\n

Read more \u2018Love Island USA\u2019 Season 8 Crowns Its Winners<\/a><\/p>\n

\n\tThe director\u2019s latest sees him reuniting with actor\u00a0Larissa Corriveau, the star of previous features including \u201cSocial Hygiene,\u201d \u201cThat Kind of Summer\u201d and the 2023 Locarno premiere \u201cMademoiselle Kenopsia.\u201d Here she stars as Mira, a solitary woman working on behalf of a mysterious organization that offers assisted death to desperate individuals.<\/p>\n

\n\tWith seemingly no plan in life and no direction to guide her, Mira falls in with Madeleine and Ludo, two free-spirited hedonists living deep in the forest. There she begins to question her wandering life and reassess the dark pacts she forges with the desperate souls who seek out her services.<\/p>\n

\n\t\u201cNobody\u2019s Violence\u201d is written and directed by\u00a0C\u00f4t\u00e9\u00a0and produced by Guillaume Vasseur and Gabrielle Tougas-Fr\u00e9chette, with the participation of Sodec and T\u00e9l\u00e9film Canada and the support of Quebec\u2019s\u00a0Cr\u00e9dit\u00a0d\u2019Imp\u00f4t Cinf\u00e9ma et\u00a0T\u00e9l\u00e9visio \u2013 Gestion Sodec,\u00a0Canada\u2019s Cr\u00e9dits\u00a0d\u2019Imp\u00f4ts, T\u00e9l\u00e9-Quebec, H264 and Heretic. It stars\u00a0Corriveau alongside\u00a0Philippe Rebbot, Xavier Bergeron, Gabrielle Lazure and Pierrette Robitaille.<\/p>\n

\n\tThe film continues C\u00f4t\u00e9\u2019s long-running love affair with Locarno, beginning with his fifth feature, \u201cCurling,\u201d which was awarded at the prestigious Swiss fest in 2010 before traveling to more than 80 festivals. It marks\u00a0the director\u2019s\u00a0first appearance there since receiving a life-saving kidney transplant in 2023, after he spent more than a decade battling a debilitating kidney illness.\u00a0<\/p>\n

\n\tSpeaking to\u00a0Variety<\/em>\u00a0on the eve of this year\u2019s festival, C\u00f4t\u00e9 opened up about his love for low-budget, indie filmmaking, why he\u2019s still not sold on Hollywood, and how it feels to get a new lease on life, saying: \u201cI never expected to live such a miracle.\u201d<\/p>\n

\nYou wrote this screenplay during the final and most difficult year of your illness, a time of uncertainty when you were living in a gray zone between life and death. How did that experience shape the creation of this film?\u00a0<\/strong><\/p>\n

I really don\u2019t want to make films about my personal life. I\u2019m not very good with that, even though that\u2019s the cinemas of today \u2014 people are only talking about their coming of age or their traumas or their family.\u00a0I\u2019m very bad at that. Maybe I\u2019m from another generation, but it\u2019s fun to make a film that talks about yourself, but it\u2019s absolutely not about yourself. Mira is created in that way. She has no clue where she\u2019s going. My condition was kind of [similar to hers]. It\u2019s a liminal space.\u00a0<\/p>\n

\n\tI did \u201cMademoiselle Kenopsia\u201d when I was very sick, and that film was about liminal spaces. This script is still about all these in-betweens that were stuck in my head. I didn\u2019t know what dialysis meant. I didn\u2019t know what a transplant was. What\u2019s on the other side? Because for 10, 15 years, I didn\u2019t know what it was to be healthy. I was just living with all these toxins in my head and in my body, and I was just tired.\u00a0I imagined the script that way. It\u2019s something you can\u2019t grasp. So it\u2019s a film about myself, but it has nothing to do with my life.\u00a0<\/p>\n

\nHow did your long illness affect you as a filmmaker?<\/strong><\/p>\n

When\u00a0you have kidney insufficiency, you can function. You\u2019re just always tired. And there are some doctors telling you you\u2019re going towards something very dark, but you function. So I made all these films with my condition. It was hard to travel, but it\u2019s not a very clear disease. The symptoms are not very clear. You know you\u2019re in a dangerous place, but it\u2019s so abstract. And that\u2019s how I created this film. I didn\u2019t know where I was going. And then suddenly somebody offered me a kidney, and it was a miracle.<\/p>\n

\nWas the process of making \u201cNobody\u2019s Violence\u201d different than how you would normally approach a film? Did Mira come to you in a different way than other protagonists?\u00a0<\/strong><\/p>\n

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\n\tI knew I was talking about myself, but I didn\u2019t want it to be very explicit.\u00a0The way I work, I never see the end of the script. I just write, and it\u2019s blank pages, one after the other. My films are more like objects and less like clear narratives and organized propositions. You just don\u2019t know where this character is going.\u00a0<\/p>\n

\n\tFor me, she\u2019s in an in-between situation. I created this script thinking of me waiting to get a new life.\u00a0That was the whole point of the film. The floating center \u2014 Mira, not asking questions, just drifting, drifting, drifting. I love that kind of cinema. And then she has to do one thing.\u00a0We don\u2019t know what, but sometimes you need to do one thing to just jump into the void and then find a new life.<\/p>\n

I love being lost in front of my own creation. I don\u2019t even know what this film is. I don\u2019t even know who that character is. Who are these people? I know it\u2019s a bit dumb to say it like that, but I love it. You feel that the object you created can have its own life without you. You\u2019re totally lost in front of what you created.\u00a0I love that feeling.\u00a0<\/p>\n

\nYou\u2019ve talked about how you miss narrative freedom in cinema, and how you believe your own work could benefit from more of it. Why?<\/strong><\/p>\n

\n\tIt\u2019s getting harder to make those films. But some filmmakers are still so free, and [I admire] what they\u2019re doing. The problem in our industry is that in those rich countries where we live, you need to ask for money from the ministries of culture, and you need to [explain] everything you\u2019re doing. You need to put it on paper. You need to fight for this freedom because they ask you for very solid and tight scripts before giving you the money.\u00a0You cannot just write something on a piece of paper, and they\u2019re going to give you the money. In the end, I\u2019m trying to shoot this film with the most improvisational moments I can find, this 16mm stuff and this editing that is \u201970s, rough looking. Those are the parts where I find my liberty. I\u2019m an experimental filmmaker, and I never experiment enough. You have these crews of 35 people around you, you have tight schedules, so I\u2019m always fighting to find more liberty.\u00a0<\/p>\n

\nDo you ever see yourself moving in a more commercial direction? Would you want to work in Hollywood?<\/strong><\/p>\n

\n\tMaybe if you would have asked me 15 years ago, or 20 years ago, during \u201cCurling\u201d or \u201cVic and Flo\u201d \u2014 those older films. I\u2019ve had these discussion with Denis Villeneuve, or Philippe Falardeau, and they told me how it works. You just stay home. You read scripts. And if you like it, you tell your agent and those films happen.\u00a0For me, it\u2019s just a mysterious planet. But I was curious.\u00a0<\/p>\n

\n\tNowadays, I would tell you it\u2019s over. I\u2019m 52, I have made 17 films. I have my brand of \u2014 not \u201cexperimental\u201d filmmaking. But it\u2019s very hard to approach a 52-year-old guy and try to bring him towards the light, or the more narrative aspects of things. I could not write these scripts. I would be completely alien in that industry. So nowadays, I\u2019m not looking to be something other than who I am now. I\u2019m going to push the envelope to make freer and freer projects.\u00a0I know where I want to be, and I think I am where I want to be, and it has nothing to do with anything narrative or commercial. I lost connection with that world.<\/p>\n

\nIt\u2019s been three years since your kidney transplant. How do you think the experience of being, you know, at death\u2019s door shaped your approach not only toward life, but also toward filmmaking? Do you look at cinema and your work differently now?<\/strong><\/p>\n

When I was sick, I don\u2019t think it was conscious, but I was still fighting against time.\u00a0It was not very concrete, but people were telling me, \u2018You make a film a year, and you don\u2019t have to.\u2019 And then I would give answers like, \u201cI don\u2019t have kids.I don\u2019t have a house. I don\u2019t have a car. I don\u2019t have a driver\u2019s license. I have nothing else than cinema in my life.\u201d So I had the luxury to make a film every year.\u00a0Even when \u201cMademoiselle Kenopsia\u201d was made, I had\u00a015% kidney function left. I could not even stand up, and we were making this stupid film. It was an unnecessary project. So why was I making that?\u00a0<\/p>\n

\n\tSince the transplant, [that feeling] is gone. It\u2019s my old life, and I cannot remember what was before.\u00a0Maybe I\u2019m not spiritual enough or philosophical enough about the whole thing, but I\u2019m a very concrete person. What kind of new philosophy can I tell you about the whole experience? I\u2019m still not sure. But since I\u2019m healthy, it\u2019s my second project, and I just finished a new script, and I\u2019m about to maybe shoot a small film soon.\u00a0So it\u2019s the same life.\u00a0Cinema is a daily grind. You\u2019re just getting groceries and making films.\u00a0<\/p>\n

Read more Jay-Z\u2019s Third Yankee Stadium Concert Plagued by Hours-Long Delay After Security Breach<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Heretic has acquired world sales rights to the Canadian auteur’s 17th feature film, which will premiere in main competition at Locarno.<\/p>\n","protected":false},"author":1,"featured_media":4064,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3306,1906],"class_list":["post-4065","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-denis-cote","tag-locarno-film-festival-2"],"yoast_head":"\nDenis\u00a0C\u00f4t\u00e9\u2019s \u2018Nobody\u2019s Violence\u2019 Acquired by Heretic Ahead of Locarno Main Competition Premiere (EXCLUSIVE) - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4065\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Denis\u00a0C\u00f4t\u00e9\u2019s \u2018Nobody\u2019s Violence\u2019 Acquired by Heretic Ahead of Locarno Main Competition Premiere (EXCLUSIVE) - 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