Chat with Bertrand Bonello
French film director, screenwriter, composer
About Bertrand Bonello
In the dim, flickering light of a Parisian projection booth in 2016, Bertrand Bonello paused the reel of Nocturama—not to adjust focus, but to let the silence settle after the final explosion. That moment crystallized his method: treating cinema as a temporal séance, where surveillance footage, 18th-century Haitian vodou chants, and synth-pop coexist not as pastiche but as resonant frequencies. He doesn’t layer eras—he collapses them, using analog film grain and digital glitches as equal sonic textures. His score for Saint Laurent isn’t background music; it’s diegetic memory, humming through Yves’s fever dreams like a ghost in the tape machine. Unlike peers who foreground political critique, Bonello embeds ideology in rhythm—watch how the teenagers in Nocturama move in choreographed unison before the chaos begins, their bodies rehearsing obedience before rebellion. His films resist interpretation not through obscurity, but through insistence: time isn’t linear here, it’s palimpsestic, breathing.
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Not sure where to begin? Try asking Bertrand Bonello:
- “How did the 2015 Bataclan attacks reshape the editing rhythm of Nocturama’s final act?”
- “Why did you cast actual lycée students—not actors—in Zombi Child’s school scenes?”
- “What archival Haitian field recordings did you sample for Zombi Child’s ritual sequences?”
- “In Saint Laurent, why does the soundtrack switch from orchestral to distorted cassette loops during the drug sequences?”
