{"id":72,"date":"2026-05-17T09:42:41","date_gmt":"2026-05-17T09:42:41","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=72"},"modified":"2026-05-17T09:42:41","modified_gmt":"2026-05-17T09:42:41","slug":"after-son-of-saul-laszlo-nemes-returns-to-wwii-with-moulin-and-a-warning-about-tyranny-you-have-to-choose-your-side","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=72","title":{"rendered":"After \u2018Son of Saul,\u2019 L\u00e1szl\u00f3 Nemes Returns to WWII With \u2018Moulin\u2019 and a Warning About Tyranny: \u2018You Have to Choose Your Side\u2019"},"content":{"rendered":"
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\n\tEleven years after stunning Cannes with the searing Holocaust drama \u201cSon of Saul,\u201d which won the Grand Prix and went on to earn the Oscar for best international feature, Hungarian filmmaker Laszlo Nemes returns to the Croisette with another harrowing journey into WWII in Europe. But while \u201cSon of Saul\u201d immersed audiences in the machinery of extermination, Nemes\u2019 new competition entry, \u201cMoulin,\u201d explores France under the German occupation through the eyes of French Resistance hero Jean Moulin.<\/p>\n

Rather than doing a biopic of Moulin, Nemes charts the final 10 days before his death and his chilling confrontation with Klaus Barbie, the infamous Nazi officer known as the \u201cButcher of Lyon.\u201d Played by Gilles Lellouche in a transformative performance opposite a haunting Lars Eidinger as Barbie, \u201cMoulin\u201d is an \u201cimmersive take on what he went through and the choices he made,\u201d Laszlo told Variety<\/em> in an interview ahead of the Cannes Film Festival. <\/p>\n

\u201cThere are elements of a spy movie, adventurousness, some epic quality,\u201d Nemes says. \u201cIt\u2019s a confrontational movie, and the tension of that confrontation between Barbie and Moulin is at the heart of it.\u201d <\/p>\n

For Nemes, who spent part of his childhood under Hungary\u2019s communist dictatorship before the fall of the Berlin Wall, the material resonated. \u201cI cherish those memories in my gut of what it was to live in a world that\u2019s not free. We were yearning so much to be free. Sometimes the West doesn\u2019t quite understand how lucky they are to be free.\u201d<\/p>\n

Nemes says he was especially drawn to the philosophical and moral dimensions of Moulin\u2019s resistance. \u201cIt was almost like a clash of civilizations between a view of the world that\u2019s humanism and a world focused on destroying anything good in humans,\u201d he says. \u201cThis confrontation between these two men says something about human civilization and its two faces.\u201d<\/p>\n

The filmmaker also wanted to steer clear of caricatures on either side of the conflict. \u201cI didn\u2019t want a circus Nazi,\u201d he says of Eidinger\u2019s portrayal of Barbie. \u201cI also didn\u2019t want two-dimensional heroes on Jean Moulin\u2019s side either. The foundational fact is that both men are humans, not demons or gods. There are two ways a human being can evolve.\u201d<\/p>\n

\u201cMoulin,\u201d produced by Alain Goldman\u00a0at Pitchipo\u00ef Prods. and Montmartre Films, in co-production with TF1 Films Production, marks Nemes\u2019 first French-language feature and is one of the several WWII-set movies bowing at Cannes, alongside Emmanuel Marre\u2019s \u201cA Man of His Name,\u201d Antonin Baudry\u2019s \u201cDe Gaulle\u201d and Daniel Auteuil\u2019s \u201cLa Troisieme Nuit.\u201d<\/p>\n

Read more Kino Lorber Acquires North American Rights to Mark Cousins\u2019 \u2018The Story of Documentary Film\u2019 (EXCLUSIVE)<\/a><\/p>\n

\n\t\u201cThe resistance years were almost like a civil war in France,\u201d Nemes says. \u201cWhen tyranny takes over a society, you have to choose your side, and whatever your choice is \u2014 even if you\u2019re indifferent \u2014 you\u2019ve chosen a side.\u201d He says the current fragility of democracy is the reason why stories set during World War II feel particularly timely today. \u201cThis friction between democracy and tyranny is still at the heart of our times,\u201d he says. \u201cMaybe that\u2019s why people keep coming back to it.\u201d<\/p>\n

\n\tNemes will next make his English-language debut with \u201cOuter Dark,\u201d a Cormac McCarthy adaptation, with Jacob Elordi and Lily-Rose Depp. He previous two films, \u201cOrphan\u201d and \u201cSunset,\u201d both world- premiered at Venice. <\/p>\n

Congratulations on presenting \u201cMoulin\u201d in competition at the Cannes Film Festival \u2014 a comeback after 11 years. This is another film set during WWII, but from a completely different perspective. <\/strong><\/p>\n

\n\tThe good thing about starting with a Holocaust movie is that you learn early on the sense of responsibility you have as a filmmaker when you tackle a subject of that importance and cultural weight. Making my first French-language movie about the resistance, collaboration, and World War II is a big undertaking, but that sense of responsibility has helped me. It\u2019s from the perspective of another man \u2014 this time a historical figure and French national hero, Jean Moulin. The film is about his last 10 days and his confrontation with Klaus Barbie, the Butcher of Lyon. Many people in France know the name but don\u2019t necessarily know the real man behind it. Internationally, it\u2019s an even bigger question whether people know about him. The more I learned about him, the more I thought he deserved a film that wouldn\u2019t be a biopic but a more immersive take on what he went through and the choices he made.<\/p>\n

\nHow familiar were you with Jean Moulin, and why did you want to make a movie about him?<\/strong>\n<\/p>\n

\n\tI\u2019m pretty familiar. Although I\u2019m from Hungary, at some point we emigrated to France with my mother, so I did all my studies there. I studied history and political history, including 19th and 20th century French political history. But I didn\u2019t know Jean Moulin\u2019s history specifically. When they sent me the first version of the script, I started really diving into it. I wanted to know more than just the historian\u2019s take \u2014 I wanted to know the man he might have been. I read a fascinating book called Alias Caracalla by his former assistant in the resistance, Daniel Cordier. That book gave me a very personal insight into Jean Moulin\u2019s internal story and his philosophy of life and art. He was such an interesting man that I really felt close to him as a human being. I was drawn to him naturally, and I thought he deserved something that would go beyond just an empty, obligatory homage.<\/p>\n

\nDid you work with historians? How did you research and write the script?<\/strong><\/p>\n

\n\tOlivier Demangel originally wrote the script. He has a historical background and is versed in history, and I\u2019m also very interested in it. When we worked together on subsequent versions, we were very mindful of what we could say and what we couldn\u2019t. You don\u2019t know that much about Moulin\u2019s last 10 days, but my interest is always to know as many accurate details as possible \u2014 and then in the spaces between, you can inject fiction. Finding those spaces requires a sense of responsibility. That was the challenge of the movie.<\/p>\n

\nWhy did you decide to focus on the last 10 days of his life?<\/strong><\/p>\n

\n\tThat was Olivier\u2019s proposition, and that\u2019s also why they approached me. You couldn\u2019t encompass the entire life of Jean Moulin \u2014 that would be a biopic, and we didn\u2019t want that. They were more interested in something immersive, and how to do that better than to recount his last days at the hands of Klaus Barbie? Not a biopic \u2014 that was very important.<\/p>\n

\nSo it was a project brought to you. How did you make it your own?<\/strong>\n<\/p>\n

\n\tBy meeting Jean Moulin in my readings \u2014 meeting the man behind the official figure, the homage, and the hero. To really uncover what\u2019s behind the hero. He was such a humanist. It was almost like a clash of civilizations between a view of the world that\u2019s humanism and a world focused on destroying anything good in humans. This confrontation between these two men says something about human civilization and its two faces.<\/p>\n

\nIs there action in it, or is it just torture scenes?<\/strong><\/p>\n

\n\tThat\u2019s something I was very keen on avoiding. It\u2019s not about the demise of one human body. We didn\u2019t want to go into \u201cthe Passion of Jean Moulin.\u201d I didn\u2019t want to put the viewer in a voyeur\u2019s perspective. I was much more interested in the viewer becoming a friend to Jean Moulin \u2014 a friend and a witness. This already guided my journey on Son of Saul: how to make the viewer a witness. That creates a very interesting emotional thing.
It\u2019s a very different movie from Son of Saul, so don\u2019t picture it as Son of Saul 2. The language is different, but there are invisible links between the films. The importance of humans and humanity in the darkest hours is something that guides me. So no, it\u2019s not a torture movie.<\/p>\n

\nWould you say it\u2019s a thriller?<\/strong><\/p>\n

\n\tIt\u2019s a cross \u2014 there are elements of a spy movie, elements of adventurousness, some epic quality. It\u2019s a confrontational movie, and the tension of that confrontation between Barbie and Moulin is at the heart of it.<\/p>\n

\nI saw some clips, and Lars Eidinger looks really creepy. And Gilles Lellouche doesn\u2019t even look like Gilles Lellouche.<\/strong><\/p>\n

\n\tThey both worked a lot to get where they were, and they understood my approach. I didn\u2019t want a circus \u2014 circus Nazis. I didn\u2019t want two-dimensional heroes on Jean Moulin\u2019s side either. They both knew what the traps were. For Gilles, the mission was to be as truthful as possible, to find something in himself that was that guy \u2014 Jean Moulin \u2014 and keep a certain simplicity. He was a very hard worker. Every morning I\u2019d go see him in makeup and we\u2019d talk about the lines and the scene. Even after the 50th conversation about a scene, he might still say, \u201cNo, let\u2019s go for a more simple way of doing this.\u201d Or I would.
On Lars\u2019s side, I didn\u2019t want the circus Nazi. I also didn\u2019t want to go into psychology, trying to uncover the layers of his soul. I wanted someone a little like Max von Sydow in certain very cold roles in Bergman\u2019s movies \u2014 simplicity and purity, but something that troubles the viewer in their heart about how a human being can become something like that. The foundational fact is that both men are humans, not demons or gods. There are two ways a human being can evolve.<\/p>\n

\nGilles Lellouche told me once that there were actually neo-Nazis on the shoot \u2014 that you wanted things to be that truthful.<\/strong>\n<\/p>\n

\n\tWe didn\u2019t do it on purpose, but sometimes when you work with extras in Hungary, you find out\u2026 They weren\u2019t actually neo-Nazis \u2014 we had some reenactors. The guys who worked with me even on Son of Saul said, \u201cWe\u2019re not Nazis, we don\u2019t like that, we just like the uniforms.\u201d They were like kids playing around with their uniforms, which is understandable. There\u2019s a fascination for something out of the ordinary \u2014 in a bad way, obviously.<\/p>\n

\nWhere did you shoot the movie?<\/strong><\/p>\n

\n\tIn Budapest. We scanned Lyon for the visual effects and used quite a lot of original photos from the time. Lyon today is so different from 1943 that we would have had to redress and redraw everything in post-production anyway. For budgetary reasons, we chose Hungary. That\u2019s a way to control the film so we can put the most percentage of the funds on the screen and not somewhere else.<\/p>\n

\nIn a studio in Budapest?<\/strong><\/p>\n

\n\tNo, mainly on real locations. We integrated a lot of Lyon\u2019s vistas, and Budapest from some perspectives really looks like Lyon. Budapest can act as different cities. Lyon is a good match because of the hilly side \u2014 there\u2019s a flat side and a hilly side, and the architecture has very big similarities.<\/p>\n

Read more Bombay Berlin Film Productions Launches Four-Doc Slate, Expands as Cross-Border Boutique Studio (EXCLUSIVE)<\/a><\/p>\n

\nYou said we see the movie through Jean Moulin\u2019s eyes. How are you telling the bigger story inside this story?<\/strong>\n<\/p>\n

\n\tYou\u2019ll have to watch the movie, but we really focused on the human perception and his own journey \u2014 the fog of war, if you will, of the main character. There\u2019s no cutting away. We follow him through this ordeal and the spiraling Nazi system. There\u2019s a constant question: what will become of him, how can he get out of this? But it\u2019s also the human side of Jean Moulin that I wanted to communicate, and how it goes beyond his own person. It\u2019s a personal, immersive story.<\/p>\n

\nThere have been so many movies recently set in this era. Why do you think that is?<\/strong><\/p>\n

\n\tThere\u2019s a fascination for historical times. The resistance, the collaboration, the occupation \u2014 these things tremendously marked and traumatized the continent, especially France. Even the Second World War has been somehow romanticized in films and TV.
The resistance years were almost like a civil war in France. When tyranny takes over a society, you have to choose your side, and whatever your choice is \u2014 even if you\u2019re indifferent \u2014 you\u2019ve chosen a side. You\u2019ve chosen nihilism. This friction between democracy and tyranny is still at the heart of our times. Maybe that\u2019s why people keep coming back to it.<\/p>\n

\nIt feels very relevant today, with the rise of the far right.<\/strong><\/p>\n

\n\tThere\u2019s always an attraction for tyranny. I grew up partly in a dictatorship \u2014 I was a kid in a tyrannical system before the Berlin Wall fell. I cherish those memories in my guts of what it was to live in a world that\u2019s not free. We were yearning so much to be free. Sometimes the West doesn\u2019t quite understand how lucky they are to be free.<\/p>\n

\nCan creating under repression be inspiring? Is constraint a catalyst?<\/strong><\/p>\n

\n\tPressure is both bad and good \u2014 it\u2019s a catalyst. In the face of tyranny, you have to show your real face. Maybe that\u2019s why people are so interested in periods that are historically dense and conflictual, like the Second World War \u2014 because people show their real faces.<\/p>\n

\nWatching another upcoming Cannes film, \u201cDe Gaulle,\u201d I learned that most French people were actually pro-collaboration at the start. We have a romanticized vision of the French resistance, but people like Jean Moulin were rare.<\/strong><\/p>\n

\n\tHe was very alone. They didn\u2019t have enough manpower or organizational structure to liberate people or carry out big actions. It was very difficult to finance them, to maintain the structure, to avoid traitors. It was a very complex day-to-day operation. People aren\u2019t fully aware of how complicated, down-to-earth, dirty, and full of suffering the resistance was. They were more marginal than we think.<\/p>\n

\nDo you hope the film will be shown in schools? What do you want it to achieve?<\/strong>\n<\/p>\n

\n\tYes, I hope it can get into schools. I think it can travel beyond borders \u2014 it\u2019s not only a film for the French. I wanted to make a movie that speaks universally to audiences worldwide. It\u2019s a love letter to France, but it\u2019s beyond that. There\u2019s something in Jean Moulin\u2019s story that\u2019s universal \u2014 how isolated and alone he was in 1943. It\u2019s something very human and very fragile, and it has to be cherished, not just celebrated mindlessly but understood emotionally \u2014 what he did and what he went through.<\/p>\n

\nWhat are you doing next?<\/strong><\/p>\n

\n\tWe\u2019re planning to start production on a film called \u201cOuter Dark,\u201d a Cormac McCarthy adaptation, with Jacob Elordi and Lily-Rose Depp. They\u2019re very committed to making it happen, and I really hope we can shoot it next Spring. It will be my first English-language movie. It\u2019s a very ambitious film \u2014 a dark fairy tale bordering on horror. \u00a0<\/p>\n

Do Jacob and Lily-Rose know each other?<\/strong><\/p>\n

\n\tNot yet. But it doesn\u2019t really matter, because it\u2019s almost like two separate paths in the movie \u2014 they almost never meet. They start together and then go on their quest, the brother trying to find the sister. It\u2019s a kind of road movie.<\/p>\n

\nSome filmmakers have had bad experiences moving to English \u2014 like Florian Henckel von Donnersmarck after \u201cThe Lives of Others.<\/strong>\u201c<\/p>\n

\n\tThat can happen when you just hear the mermaids and don\u2019t pay attention to what it entails. For me, it\u2019s very important to keep control and deliver something meaningful. I have to be there \u2014 I can\u2019t give up that kind of control. I\u2019d like to shoot it in Hungary. It\u2019s still cheaper than the U.S., but more importantly, I can control the coordinates much better there. We can spend more money on the film and less on everything else. <\/p>\n

\nWhat are the things that you absolutely want and need to control when you\u2019re making a film? <\/strong><\/p>\n

\n\tMy crew. I\u2019ve invested in my relationship with my cinematographer. I know what I can expect, what\u2019s doable to build, how to drive them, how to manage the budget. It\u2019s direct management \u2014 I don\u2019t have to go through intermediaries. We\u2019re in charge of the movie, and there are no foreseeable bad surprises.
I tend to work with people I really like \u2014 who invest energy and creative effort in my films: my cinematographer, my editor, visual effects supervisor. We\u2019ve built that up over the years. It\u2019s almost like a workshop. It\u2019s not just me making a movie \u2014 we\u2019re in the same boat. That happened on \u201cMoulin\u201d too. From the first assistant directors to Gilles Lellouche to my cinematographer and editor, we were all in a creative engagement. We have to build it up, not just shoot everything and fix it in the edit.<\/p>\n

Read more Rome Kanda, Kuroki Hitomi, Banno Mari, Ahn Mika Lead Joshua Woodcock\u2019s Japanese Drama \u2018Ohenro\u2019 (EXCLUSIVE)<\/a><\/p>\n

<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Laszlo Nemes is returning to Cannes with ‘Moulin,’ a thriller revolving around the face off between French Resistance hero Jean Moulin and Nazi officer Klaus Barbie.<\/p>\n","protected":false},"author":1,"featured_media":71,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,91,92,93],"class_list":["post-72","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-cannes-film-festival","tag-gilles-lellouche","tag-laszlo-nemes","tag-moulin"],"yoast_head":"\nAfter \u2018Son of Saul,\u2019 L\u00e1szl\u00f3 Nemes Returns to WWII With \u2018Moulin\u2019 and a Warning About Tyranny: \u2018You Have to Choose Your Side\u2019 - 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=72\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"After \u2018Son of Saul,\u2019 L\u00e1szl\u00f3 Nemes Returns to WWII With \u2018Moulin\u2019 and a Warning About Tyranny: \u2018You Have to Choose Your Side\u2019 - 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