Isabelle Huppert Discusses Transforming into a Vampire, Ulrike Ottinger’s Timeless Style, and Asghar Farhadi’s Intersecting Stories

      Isabelle Huppert’s portrayal in Ulrike Ottinger’s The Blood Countess, a fantastical vampire tale set in Vienna that also features local star Conchita Wurst, prompted some reflection. During an encounter at the Luxembourg Film Festival on a recent Saturday afternoon, I couldn't help but wonder how an actress who frequently dons Balenciaga's bold crimson hues on fashion runways, and whose characters rarely flinch at the sight of their own blood (as seen in Paul Verhoeven’s Elle and Michael Haneke’s The Piano Teacher), had never taken on a vampire role until now.

      “I was very happy!” Huppert shared, her eyes wide and leaning forward, adorned in a silk scarf bearing the designer's name, exuding a warmth that exceeded my expectations for our dialogue. At the Thessaloniki Film Festival last November, I’d observed with growing fascination as Huppert left several moderators baffled during a series of Q&As and public appearances, not out of rudeness, but rather through a seemingly subconscious reluctance to offer more than a five-word response.

      Indeed, while many stars at "contributions to cinema" events typically show up to pose for a few photos, share anecdotes, and stroll the red carpet, Huppert not only exceeded expectations in the number of events she attended (often contradictorily), but she also actively participated in planning her retrospective, even advising on film selections and program notes. I departed with the impression of someone keenly aware of her own legacy and her emerging status as a significant advocate for the art form—regardless of her occasional reluctance to share stories with interviewers.

      Fortunately for us, the actress arrived at the Hotel Le Place d’Armes in a cheerful mood, alternating between joking about herself and passionately discussing a cherished collaborator. In a 20-minute conversation (slightly edited for clarity), Huppert reflected on Ottinger, vampires, wigs, and costumes, her desire to collaborate again with Mia Hansen-Løve, and her recent experience working with Asghar Farhadi, whose new film, Parallel Tales, is expected to be announced at this week’s Cannes press conference.

      The Film Stage: I was surprised to find out this was your first time portraying a vampire. Did you watch any vampire films to prepare for the role?

      Isabelle Huppert: Yes, I was very happy! But no, not really. I’m not a vampire… uh… viewer. Which worked out well because I approached the film with a certain naivety, I would say. However, I noticed that during filming, and when I told people about my involvement, they seemed genuinely excited and intrigued. It’s clear it resonates with something in people’s minds. So, I found inspiration in their enthusiasm about me, or us, taking on this project.

      You often mention that acting on stage and in front of a camera are quite similar, but this film has an additional level of theatricality. How did that influence your performance and character in this film?

      Well, it provides a kind of freedom, as it distances you from sentimentality and prevents you from being overly psychological. You have a clear understanding of the film's tone, which allows the actors to feel liberated, as you don’t have to take the character too seriously. It becomes more like a tale, offering great freedom. That was Ulrike’s vision for the project: that you can explore whatever you want.

      Reflecting on your body of work, I believe this and Madame Hyde are among the only two supernatural roles you’ve taken on.

      In a way, yes! It’s funny because we filmed part of Madame Hyde here in Luxembourg, I believe. I’m a bit confused because I collaborated on two films with Serge Bozon, Tip Top and Madame Hyde, and I’m not sure if we shot one or both here. But I enjoy comparing them, as Serge Bozon’s world is definitely not realistic and highly imaginative, setting stories in a completely fantastical reality. This film shares that essence.

      Both films showcase a certain joyfulness or playfulness in your performances. You seem to be having fun. Is there a reason you haven’t pursued more roles like this?

      Well, I've done a fair number of films in this realm—perhaps not exactly like this; not all films encompass everything this one does, but this particular movie is truly special. It reflects Ulrike Ottinger's essence. It’s a film where the characterization isn’t a focal point. Honestly, who cares about that? [Laughs] I didn’t concern myself, as I understood from the outset the direction we were headed. It’s something completely timeless. You can’t pinpoint a specific era, yet it’s clear she takes the audience somewhere with her. What I love most about the film? When her character disappears. It's so brilliant; suddenly, she’s just not there anymore.

      The Blood Countess

      The dialogue was also written by Elfri