Interview with Agathe Riedinger, Director of "Wild Diamond" 

At the end of May, the 77th Cannes Film Festival concluded with four female-directed films in the main competition. Although fewer than last year, the depth and number of discussions on female subjects hit a record. Among the traditional themes, there were notable thoughts on the exploitation of women's bodies and appearance in a patriarchal society, including Agathe Riedinger's "Wild Diamond," the only debut feature among the 22 main competition films this year.

The movie follows 19-year-old Liana (played by Malou Khebizi), who lives with her unemployed mother and young sister, selling small stolen items to satisfy her beauty cravings. With no joy or support from her family, she dreams of becoming famous through a reality TV show, gaining more followers and earning money. Beyond the traditional underdog story, this film offers a modern, critical perspective. Liana says, "In life, only beautiful people succeed. If you're attractive, people admire you; if everyone admires you, you become powerful; and if you're powerful, people are willing to spend big on you." So, Liana dresses sexy and trendy to gain social and online approval, being perceived as open-minded but actually a shy girl clinging to her dreams. The film's commendable aspect is its non-judgmental gaze, giving enough understanding and legitimacy to a girl influenced by today's society, striving for success in a publicly accepted way.

Director Agathe Riedinger says there are many kinds of beauty, not just the Parisian ideal. She sees herself in the protagonist, reflecting on the link between appearance and social value and its impact on one's life. The societal demands on women's looks, the exploitation in reality shows, and the relentless pursuit of dreams by an underprivileged girl are all vividly portrayed in 4:3 format with intense colors, blending sharpness and tenderness.

After the Cannes premiere, we sat down with the director for a conversation on women, reality TV, social media, and beauty.

Q：Why did you want to make a film about reality TV?

A：For a long time, and even now, I've been watching reality shows. Initially, I wanted to make a short film questioning this so-called entertainment. It’s not the light-hearted fun people expect; it’s a manufactured form of entertainment, conveying questionable values and full of disdain for the lower classes. Values like the hyper-sexualization of women feed rape culture and consumerism, showing nearly real harassment and sexual assault without punishment. It’s a form of intense violence. I felt the need to talk about this, to observe and understand why people participate and their motivations. Most contestants come from working-class backgrounds, using reality TV as a way to gain social status and success, as capitalism demands. This contradiction is fascinating and drove me to continue exploring it beyond the short film.

I’m also intrigued by this unique expression of femininity; these women exude immense power, making me question the definition of beauty. I keep asking myself, and still don’t have an answer: are these women products of ancient patriarchal demands, being truly women only when desired? Or are they subverting these demands, using beauty as a weapon for recognition and liberation? These questions made me feel the need to discuss reality TV.

Q：It's interesting to see how influencers and reality TV work on the big screen...

A：Influencers usually come from reality TV shows, or at least most contestants do. It’s a springboard, a way to get recognized, and then become social media influencers, earning more money than from the show itself. Social media extends reality TV; it’s the biggest reality show globally, with both realms needing each other to exist.

Reality TV is complex and contradictory. It can be mocked but also offers opportunities for girls from poor backgrounds...

I see it as a mirror of society, highlighting extreme and radical values of a crisis-ridden society. At the same time, it offers those with fewer job and educational opportunities a way to regain dignity through capitalism’s values of money and beauty. This contradiction is real.

Q：You’ve watched reality TV for a long time. Has your view changed over time?

A：Yes. Initially, I watched it as entertainment, like a series or movie, because the production is excellent. Over time, with contestants repeating year after year and having social media presence, I felt a strong identification and closeness to them. However, seeing harassment and women being treated poorly in various ways changed my view to a critical and analytical one. A pivotal moment came when I watched a documentary on geishas from the late 19th and early 20th centuries, perfectly mirroring today’s reality TV. These women, mostly from poor backgrounds, used beauty to escape poverty and dominate society. This phenomenon convinced me to tell this story, breaking many stereotypes about women and beauty, questioning class disdain and various bans on women.

Q: From your interest in the topic, how did you shape this specific character and her journey?

A：To shape Liana, I drew inspiration from multiple reality TV contestants and historical figures like Liane de Pougy, Belle Otero, and Païva, creating a composite character. I didn’t want her to be based on one person, ensuring her uniqueness. Liana is determined and rebellious, aware of class oppression and using beauty as control. She’s calm, angry, resolute, and idealistic.

Q：You mentioned historical figures using their bodies as tools, while Liana doesn’t see her body as a source of pleasure...

A：Yes, she’s emotionally detached, hiding behind today’s ideal female image. She’s a young woman under constant pressure to surpass herself, driven by her goals and dreams, believing she deserves more than her current life. This obsession leaves little room for joy.

Q：You explore social and cultural aspects of beauty. How do you define young women’s beauty today? Is there a gap between beauty in reality TV and real life?

A：I wanted to show an alternative beauty in "Wild Diamond." Liana has her own aesthetic standards, seeking a broader definition of beauty admired by the public. I’m interested in exploring the concept of beauty—what it is, natural beauty versus manufactured beauty, with many forms existing. To me, artificial beauty is the truest, hiding immense vulnerability. Changing our appearance to find ourselves stems from feeling inadequate, revealing our fragility.

Q：You sympathize with women chasing beauty. Would you consider cosmetic procedures yourself?

A：During my studies at the Decorative Arts Academy, I thought about this a lot. I’ve experienced societal demands and expectations, closely identifying with my characters. I’m unsure if I’d do anything for beauty, but reality TV and this film made me reflect on the relationship between self-image and self-worth. Working with young women with different views on beauty and cosmetic surgery, often diverging from Parisian standards, was fascinating.

Q：Your film has a distinct authorial style. Did you decide on the 4:3 format and color use early on?

A：Yes, I need visual images while writing, validating my ideas. From the start, we wanted the 4:3 format, which I often use. It’s visually rich, creating symbolic images and allowing more creative sound and off-screen space use. This format is well-suited to portraying the character’s sense of confinement. Colors were also crucial, adding grandeur and intensity to the character’s burning passion. I aimed to reflect Liana’s dreams and desires through vibrant colors.

Q：The film’s costumes and set design seem meticulously crafted...

A：Indeed, it was a massive effort, starting before filming "Wild Diamond." I’ve always been interested in women’s extreme beauty and body representation. We emphasized reality show contestants’ traits and symbols, integrating them into Liana’s psyche. Every choice is deliberate, reflecting her thoughtful decisions. For instance, she has a Madonna tattoo next to a dollar sign, symbolizing deeper meanings. Every costume and makeup design aligns with Liana’s psychology, showcasing her vulnerabilities and the lack of support in her family. She believes in her dreams, needing strength from religious faith to pursue them.

Q：I heard casting for the female lead took a long time...

A：Yes, finding an amateur actress for Liana was essential to match the story. Liana is an unknown, overlooked character, so we needed a young woman with no acting experience, embodying the character’s untamed nature. Geographical and political consistency was also crucial, leading us to search in southern France. We spent eight months on street casting, finding the right person quickly but taking time to ensure she wasn’t a professional actress and could deeply understand the role without being overwhelmed by it. She had to withstand the physical demands of filming, being in every shot. We needed someone who could fully engage in the experience without getting hurt, while protecting the character. She also had to convey the film’s themes, sharing the same generational context as Liana.

Q：How did you explore the character’s resilience in facing life’s challenges?

A：We built this through others’ reactions and comments, especially on social media. For girls, comments on social media are crucial, reflecting extreme emotions. Positive or negative, they validate her existence. These comments are not just feedback but a way for her to feel valued and powerful. They sustain her existence, becoming part of her self-validation process, like a mark defining her actions.

Q：How did you come up with the title "Wild Diamond"? It fits the story perfectly.

A：The title comes from a scene where Dino calls the runaway Liana his “wild diamond.” The original script title was more abstract, but I chose “Wild Diamond” for its better definition of the film and accurate depiction of Liana’s character. Like an uncut diamond, Liana is raw yet precious, symbolizing both nobility and sharpness. I wanted the audience to understand her multifaceted nature, hoping their perspective changes from the beginning to the end of the film.

Q：In the final scene, Liana is on a plane heading to her dream destination, with sunlight shining on her face but only illuminating half of it. Was this scene carefully designed with special meaning?

A：Yes, I put a lot of thought into this scene because the ending is very crucial for me. I wanted to convey her success and hope. She has a dream, she pursues it diligently and sticks to it, ignoring those who doubt her and seeking her dignity. Whatever her plan is, she has to succeed. This is very important to me, but I also wanted to show that even though she’s successful, she’s entering the arena of reality TV, which is a real coliseum. Reality is still challenging. She might use this success to move forward or end up on a more complicated path. So, the plane turning at the end symbolizes her stepping into an unknown territory. The moment when the sunlight falls on her face also has a religious symbolism, as if blessing her and welcoming her into the land of dreams. We put a lot of effort into this scene because we needed to convey complex emotions through limited elements. The audience will be happy for her, but how she uses her success next—whether she chooses a path that brings her happiness and peace or falls into another dilemma—depends entirely on her clarity and wisdom.

Q：You are one of the four female directors whose films made it to the main competition at Cannes this year, and the only one with a debut feature. Is there extra pressure with all the expectations?

A：Of course, this is also my first time at the Cannes Film Festival, so I have no experience with film festival selections. Facing all the talk and expectations, I understand that there is a lot of curiosity, and we need to meet this curiosity.