“I wanted to create an image that was missing. Like Céline, I was expecting my first child without carrying them myself, and I had to adopt them. There were no images or role models to refer to, so I set out to tell, intimately, what our way of forming a family really questioned—its uniqueness and its ordinariness.” “Throughout the shot planning with DP Jacques Girault, the question of point of view was central. Finding the right distance is what enables empathy and identification. Céline is a character in motion—the film is like a moving train.” “I drew inspiration from varied references: filming Céline as Cameron films John Connor in Terminator 2; the family questions of Shoplifters; and the bodies-in-space approach of Elephant—seeking an aesthetic coherence between them.”