Studiocanal has unveiled an exclusive first-look image showcasing Matt Dillon and Anamaria Vartolomei, celebrated for her role in “Happening,” embodying the iconic personas of Marlon Brando and Maria Schneider in Jessica Palud’s highly anticipated cinematic offering “Maria,” set to grace the prestigious Cannes Film Festival.
Palud’s cinematic narrative delves into the poignant life of Maria Schneider, thrust into the limelight at the tender age of 19 through her portrayal opposite Marlon Brando in Bernardo Bertolucci’s seminal work, “The Last Tango in Paris,” only to find herself ensnared in a tragic trajectory from which she never fully recovered. The film meticulously unravels the harrowing ordeal Schneider endured, including the imposition of an un-simulated rape scene during the filming of “The Last Tango in Paris” by Bertolucci and Brando.
As the sole cinematic offering from a female director slated for the Cannes Premiere, “Maria” draws inspiration from the pages of “Tu t’appelais Maria Schneider,” authored by Vanessa Schneider, the actress’ cousin. Scheduled for release in French theaters on June 19 by Haut et Court, the esteemed production house behind the Cesar-winning masterpiece “The Night of the 12th,” “Maria” is helmed by producer Marielle Duigou under the banner of Les Films de Mina.
Studiocanal (formerly Orange Studio) has been entrusted with the international sales of the film at the Cannes Film Market.
In an exclusive interview with Variety preceding the Cannes Film Festival, Palud divulged that both Dillon and Vartolomei regarded their roles as “the most challenging endeavors” they had undertaken as actors.
“Capturing Brando’s descent into such egregious misconduct was profoundly disquieting. It is a monumental assault that unfolded in plain view yet was met with silence as the cameras continued to roll,” remarked Palud, underscoring Dillon as her unequivocal first choice. “I sought an actor who epitomizes the essence of Hollywood,” she added.
With regards to Vartolomei’s pivotal role, Palud emphasized, “Her presence was indispensable, as she embodies Maria’s essence in every frame. I needed to be captivated by the lead actress to authentically convey Maria’s narrative voice.”
Palud elaborated on the rigorous preparatory measures undertaken, noting, “Annamaria possesses a rare cinematic aura. We engaged in extensive rehearsals spanning several months, delving into emotional depths and meticulously studying films together.” Ultimately, Palud asserts that “Maria” transcends mere storytelling; it is an exploration of “the gaze”—its capacity to inflict profound wounds and inflict lasting damage when empathy and understanding falter.
As the Cannes Film Festival approaches, anticipation mounts for the unveiling of “Maria,” a poignant cinematic testament to resilience and the enduring legacy of Maria Schneider.
