2026 RIIFF Filmmaker Spotlight Series: ÉCLATS, directed by Maéva Chazalon
Article Written By Roman Olavarria
Lou finds herself feeling trapped in a medical center while recovering from her struggles due to her eating disorder. She finds comfort through her friend, Esther. Through building up the connection between the two characters, Chazalon is able to depict the two through a night of freedom outside of the clinic by capturing very picturesque cinematography that starkly contrasts the different environments and close-ups that highlight the emotions and care that the actors portray for their characters’ inner thoughts and feelings. The dialogue is a highlight, utilizing detailed nuances in ED recovery dialogue as well as double-meanings that the characters would recognize. Chazalon discusses her experience with the filming process of ÉCLATS and with the short film industry. She breaks down some of her inspirations for this film, whether that be her experience on set, her work with Lorette Nyssen—writer and lead actress of ÉCLATS—and her aspirations for her professional and creative endeavors. Additionally, congratulations to the ÉCLATS team for tying for the First Prize for the Alternative Spirit Award (Best LGBTQ Short) at the RIIFF awards ceremony!
Roman Olavarria: Les Dissociés is your association committed to bringing more representation to film. As a filmmaker, do you ever feel the need to balance between wanting to discuss politicized identities without feeling overtly political? How does showcasing politicized identities, such as queer identities, broaden the scope of representation?
Maéva Chazalon: The stories we are told shape our childhoods: we want to be like our favorite heroes; we want to live their adventures! During my early years, I identified primarily with male heroes. None of the little girls in the cartoons I watched were brave or valiant. When I created my first short films at the age of twelve, I realized that my characters were just like those in the movies I watched: none of them resembled me. Subconsciously, I had internalized the idea that we were invisible.
Representations shape our imaginations. Imaginations shape our realities.I am convinced that through cinema, audiovisual media, and all forms of artistic expression, we can offer a fresh perspective by presenting different kinds of representation.
I don’t stop to consider whether a character is “too political” or not; it depends on the story we want to tell. In the case of Éclats, the story itself isn’t political in an activist sense.
However, the way the characters are portrayed is: they are queer characters—and, in one instance, a person of color. This isn’t explicitly highlighted, but it contributes to greater diversity. It reflects a desire to better represent the world around us.
Art is inherently political; even choosing not to address politics is, in itself, a political choice.
RO What were some of the difficulties in balancing all of the different social issues and identities that converged in the film: eating disorders, mental health, youth and growing up, gender, race and ethnicity, etc.?
MC: Even though we were mindful of it, it was never an issue. The film has a fairly simple story, after all. It’s all interconnected; I don’t compartmentalize social issues or identities, and I don’t think Lorette approached it that way.
As for the directing, it was important to me that the two actresses not both be white, to better reflect our realities (and because I’m not white either, I’m of chinese origin). In future films, I would like to direct asian actors.
There is a romance between the two young women, but I didn’t want their (supposed) homosexuality to be a central theme or even a plot point in itself. Their love—or attraction—is simply there; that’s all there is to it.
In the past, I wrote films where the coming out was a subject—back when it was all new for me and I didn’t know how to express it. Today, it’s no longer an issue for me, just as it isn’t for Lou and Esther in ‘Éclats’.
RO: To film ÉCLATS, the location of Hospices Civils de Lyon was chosen. How can beginners filmmakers better develop relationships with local communities to support their projects, much like your team does with groups in Lyon?
MC: It might sound obvious, but it’s about daring to ask for things that seem unachievable. They might say no, but we have nothing to lose! We’re still young and don’t have much money, but we have plenty of drive and passion.
I was lucky enough to attend film school, though I’ve stayed in touch with very few of my classmates. What really changed things for me was meeting people at events, screenings, or online. Every new person you meet might have something to offer.
Join collectives and associations for screenwriters and directors—don’t stay isolated. If you can’t study film formally, go out and meet students, and take part in volunteer projects to meet future colleagues…
As for the Hospices Civils de Lyon, that connection came through our script supervisor, who had already filmed there. We met them in person; they read the script and loved the story. We always had a great relationship—we kept them updated on the film’s progress, and they were thrilled for us! It’s by daring to leap into the unknown that you can find pleasant surprises.
RO: What were some particularly difficult scenes to plan, film, and finalize? What made them difficult, and how did your team solve these issues?
MC: The final sequence in the fields was shot at dawn. It was our first day of filming, so it was quite challenging—both in terms of fatigue and simply staying sharp. Since it was at sunrise, we had a very narrow window for filming. But we were well-organized; we had done our location scouting, and some of those shots are actually my favorites.
The smoking room scene was also quite challenging, as we had very little space and had to stage the extras. They needed to be present without taking up too much space away from our characters. In the end, I think it turned out pretty well. Here is the link of the making of / behind the scene, available in automatic English subtitles.
RO: Regarding the depictions of freedom, personal identities, and personal experiences in the film, how much do you resonate with the main characters?
MC: Having never suffered from a severe eating disorder, I cannot claim to know what that experience is like. However, like many people, I do have certain food-related hang-ups: a fear of how others perceive me, a fear of being too fat or not beautiful enough due to certain patriarchal standards.
However, during my teenage years, I faced harassment and exclusion—whether because of my sexual orientation or my dreams—and often felt alone, trapped in a life I didn’t want. It was meeting queer friends, who helped me see life differently, that allowed me to get a taste of that freedom.
I also found that sense of freedom through movies; that is why I wanted to work in cinema—so that others might feel freer, too. Even just for the duration of a film, it can restore hope.
RO: How do you use the freedoms and restrictions of the short film industry to make projects that push boundaries? How is the French short film industry different from others in this regard?
MC: I love the short film format; it forces us to distill a story, make it engaging from the very first minutes, and experiment with new directorial ideas.
I think this format is quite underrated. I have friends who sometimes watch short films because they don’t have the time for a long story, and they enjoy them just as much.
I am not familiar enough with short-film production systems in other countries to discuss the differences. However, regarding the system here in France, producing a first film is very difficult, especially when you don’t know anyone. Before making a feature film, you generally need to have already produced an award-winning short. But to make an award-winning short, you first have to prove yourself, so we are forced to start out by working for free. Personally, I have been making films since I was twelve. Éclats is the first one I am truly proud of, and it was self-produced. I hope this short film will help me find future backers, thanks to the selection and prize at the RIIFF!
RO: Do you have a favorite moment or line in the film? What makes it your favorite?
MC: I love the moment when the character Lorette (Lou) realizes she forgot to give her caramel a name; I find that scene very touching, and it’s the moment you sense her growing and evolving. Their on-screen bond moves me deeply. But my favorite moment is the ending—the film’s original song. The lyrics and vocals are by a very dear friend, Agathe Comptier, who has an incredible talent. Her voice transports me. I’ve always loved French pop music (Pomme, Zaho de Sagazan…), and this was a beautiful tribute she created for me. Her music is out on all platforms.
RO: What are some projects that you have coming up? Anything that you are particularly excited about?
MC: I have been collaborating with Lorette—the screenwriter and actress—for over six years, and we have a project for a series consisting of around thirty short episodes that we would like to produce. It follows the story of four young people working at a movie theater who are trying to find meaning in their lives, figure out how to achieve their dreams, and heal from past traumas. It is a feel-good series, and we are currently looking for producers and distributors.
I am also currently producing a feature-length project that is in post-production; it is a trilogy of short films centered on the theme of work, in the style of auteur cinema. We are seeking distributors for it.
Finally, I am starting a Master’s program in production at the Institut National de l’Audiovisuel (INA) this year, and I’m really looking forward to it!
