Cinema. Bernadette & The Lady of Lourdes: why film in Saint

The daily life changes radically for those who witness these “visions”. Bernadette Soubirous attracts the attention of the media from around the world and the Church. In fact, she will dedicate a large part of the rest of her life to the latter by becoming a nun.

This mystical story has always fascinated Dan Johnson, an American filmmaker from Alabama, for whom Christianity seems to play a central role. After several documentaries on this theme, he makes his first feature film, “Bernadette & The Lady of Lourdes”, which looks back on the life of the woman now known as Saint Bernadette, as she was canonized in 1933.

“It’s been over two years that Dan wanted to do this project,” explains Paul Duda, the film’s American producer. “The goal is to tell this French story to an English-speaking audience. So far, filming has been going very well. It will be a beautiful film.” He adds jokingly: “‘Bernadette & The Lady of Lourdes’ is filmed in English because Americans have trouble with subtitles.”

“Filming in Lourdes is technically not possible and the convent of Nevers has been renovated and no longer corresponds to that of the 19th century.”

Lourdes or Saint-Sever?

The filming of the movie – with around fifty participants – started on March 23 in the Pyrénées-Atlantiques. From April 20 to 24, the town of Saint-Sever in Landes welcomed the big production. Multiple scenes of this feature film were shot there. However, the chosen location in Landes has nothing to do with the life of Bernadette Soubirous, portrayed by Elfie Kluk. The saint spent the first part of her life in Lourdes before joining a convent in Nevers, Nièvre.

Saint-Sever was chosen for its setting offering sumptuous decor. “To make a period film, you need period settings,” explains Gaëlle Risch, the film’s set decorator. “Filming in Lourdes is technically not possible, and the Nevers convent has been renovated and no longer corresponds to that of the 19th century.”

The decor is provided by the town hall. For Flora Valette, in charge of communication, “everyone benefits from the deal, the merchants who benefit from the presence of the staff, and also the craftsmen, solicited for details of the filming.” All the teams are accommodated at the Saint-Sever campsite, usually closed at this time of year.

“Action”

On Tuesday, April 21, around 3 pm, the courtyard was invaded by nuns, priests, and civilians in three-piece suits and top hats, for a life scene. Although the final result is intended to last 45 seconds once the film is completed, the shooting took more than an hour and a half. It is hot, and the actors are dressed warmly, with typical clothing from the 19th century. They wait for the start of filming under their umbrellas. Makeup artists come to remove what seems to be drops of sweat for some.

They repeat for a few minutes before Felix, the director’s first assistant, raises his voice. “We are going to start, be silent!” he shouts. “Action!” The scene is played, then replayed, over and over. Some details do not please the director, who asks for modifications from the actors.

The shooting is open to the public. High school students from the Charles-Despiau school in Mont-de-Marsan are present. “It’s impressive. We don’t realize all the work that goes into a small scene,” marvels Felix Sivek. His friend, Elaia Denise, adds: “We are caught up in the story. The set comes to life.”

Three million dollars

“Time is of the essence,” Felix reminds everyone. Indeed, the film production is estimated at three million dollars, so there is no time to waste. Twenty-five days of shooting will be necessary. Not one more. “The film does not benefit from CNC [National Center for Cinema, Ed.], as the director is not French. It was mostly financed by private donations,” explains Gaëlle Risch.