Making a movie about making movies has become a rite of passage for many directors, akin to writers penning their memoirs. Fellini, Truffaut, Godard, Fassbinder, Tarantino, Spielberg, Hazavanicius, and Chazelle are just a few examples of filmmakers who have tackled this theme. These behind-the-scenes movies often convey the message that filmmaking is a taxing and high-stress endeavor that weighs heavily on everyone involved, particularly the directors themselves. Cédric Kahn’s film, “Making Of,” is a French take on this subject, premiered out of competition at the Venice Film Festival.
Cédric Kahn, both an actor and director, has a repertoire of strong films under his belt, including hard-hitting thrillers such as “L’Ennui,” “Red Lights,” and “The Prayer.” Earlier this year, he garnered critical acclaim at Cannes with his historical courtroom saga, “The Goldman Case.” With his experience in movie sets, Kahn brings a playful and realistic touch to “Making Of,” a dramedy about a shoot that quickly spirals out of control from its very beginning.
The film switches between the story being filmed, a gritty tale about workers taking over a factory threatened with relocation, and scenes of the film being shot by the harried director, Simon (played by Denis Podalydès). Gradually, “Making Of” cleverly blends the two narratives together, as the striking workers in the movie start to emulate Simon’s overworked and underpaid crew. The crew faces the ultimate decision of whether to continue amidst the chaos out of love for the art or quit.
The tipping point arrives when Simon’s flighty producer announces that they have run out of money. Noteworthy actor-directors such as Xavier Beauvois, Emmanuelle Bercot, and Valérie Donzelli embody prominent roles in this film, creating a who’s-who of French arthouse talents carefully chosen by Kahn. Another subplot revolves around the budding romance between aspiring director Joseph (played by Stefan Crepon) and lead actress Nadia (played by Souheila Yacoub), whose scenes are often stolen by the insufferable star Alain (played by Jonathan Cohen).
Kahn skillfully navigates the various plotlines and cleverly uses the factory setting as the main location, adding to the claustrophobic atmosphere of a production that ends up ensnaring Simon and his team. Unlike many cynical characters depicted in behind-the-scenes films, the characters in “Making Of” (with the exception of Alain) are idealistic and genuinely believe in cinema’s power. They want to create an impactful movie about working-class struggles.
However, the film raises an important question: Can a movie about exploitation avoid exploiting the people involved in its own production? Early on, Simon faces this dilemma when the movie’s main financiers show up and insist on changing the ending to a happier one, even though an earlier draft of the screenplay had a different ending. Simon, a true-blue auteur, adamantly refuses to compromise his artistic vision. But as the production faces more challenges, he is tempted to give in to save his film from ruin, potentially ruining the film in the process.
“Making Of” poses tough questions without providing definitive answers. The ending may be seen by some as a cop-out, but Kahn seems to have made the film to openly explore these questions. The weary Simon serves as a surrogate for the director, and as he witnesses his shoot unravel, he vows that this will be his last time directing a film. It’s as if Kahn made “Making Of” as a self-help exercise to voice these thoughts and reaffirm his commitment to continue making movies.
In conclusion, “Making Of” adds to the long list of movies about making movies, exploring the taxing nature of filmmaking and its effect on everyone involved. Cédric Kahn’s directorial expertise and experience on movie sets shine through, infusing the film with a playful yet realistic tone. With strong performances from a cast of prominent actor-directors, the film raises important questions about the ethics and compromises in creating meaningful cinema.