tahar rahim and niels arestrupThere are few actors working today quite as gifted as Tahar Rahim. A bold statement, perhaps, but his work in films such as A Prophet, The Past and Our Children are cementing him as one of the finest actors outside of Hollywood – and it’s the latter production, out now on DVD and Blu-ray, that we had the pleasure of catching up with him about.

Our Children, directed by Joachim Lafosee, is a devastating drama that sees Rahim play the male lead Mounir, married to Murielle (Émilie Dequenne) as the pair struggle to raise a family, with the consistent presence of doctor André (Niels Arestrup) disrupting matters somewhat. It’s emotional and upsetting, and Rahim discusses his research on the real life story this drama is based upon. He also tells us what makes a good script stand out to him, what it’s like teaming up once again with A Prophet co-star Arestrup – and his thoughts on the potential Hollywood remake of the aforementioned title. Meanwhile, he also discusses working with Asghar Farhadi for his upcoming title The Past – and how the secret to moving between mature and youthful roles is all in the beard…

The ending to Our Children is presented right at the very start – what did you make about that technique by Joachim?
I think it was a clever way to edit. Why I think that? Because you can imagine how strong it can be to know what is going to happen first when it’s that horrible, it gives more suspense to a movie like this, which is not a short movie, you know. Like in the Titanic – you know they’re going to sink, but you’re going to see the movie anyway and believe that maybe they’re gonna stay alive. It plays with the emotions of the audience.

It’s based on a real life story – did you know anything about it first? And how much research did you do into what occurred?
I did some research, because it was important to know about the true story. But there’s a point where, as an actor, I have to stop that research because I understood that we have to take this as a movie, not a real event. The real man Mounir, was not me. Absolutely not. In his behaviour, physically, everything. So in the atmosphere and universe of Joachim Lafosse, Mounir had to be different, so I couldn’t stay to the truth.

Do you think it’s important to be different and play Mounir differently, to almost protect the real people this is about?
Yes I think it’s important to make that exercise as an actor, if it’s possible. There are some real people and true stories that you cannot change because they are so iconic, or too famous for that. But when you have the chance to do it, you better do it, because this is more interesting as an exercise.

The film is so heartbreaking and so emotional – when you read the script, was there any worry that perhaps it may be too depressing?
[Laughs] I thought about that a little bit, for the audience. But as an actor I don’t have this problem, when I pick a character or a movie, I don’t feel strange about this. I know I am faking, I am trying to create a reality but we’re not living the truth. When I go home I know who I am and I’m okay!

You do seem to be picking fantastic roles, because after A Prophet, we’ve had Our Children, Free Men, The Past… How do you chose your projects? What makes a film worth entering for you?
First of all, it’s what I feel when I read the script. This is the first feeling. To tell you how I pick roles, when I enter a shop and I like some clothes, I know exactly what I want. I’m not going to go to a hundred shops to chose a jacket. So when I read the script I know after about 10 pages if I’m going to do it or not, but I go straight to the end because this is my job. But first you have a taste that makes you think you’re going to do it if the script is good, then if the character is okay and it’s something I haven’t done before, where I can find something different to handle or to reach, I like to go there. The final thing, the meeting with the director. Those three things have to be together at the same level.

What must have helped, was that Niels Arestrup was in this film. Was it helpful to take the relationship you had in A Prophet, and incorporate aspects of it into Our Children?
That was great. The fact he was involved in the project helped me to go further into it. It’s important with casting, when there’s someone like Niels Arestrup you know he’s going to be great and it’s going to have such a partner with you. Of course I knew him from before and he’s someone I like a lot, so that was great. Our relationship in this film is different though, it’s more like a father and son.

Though the film is somewhat extreme – were you able to relate to your character, in a sense that this family are just trying to survive, and get by?
Yeah there is this, this is a story of a family who are trying to survive – but it’s more a story of a family trying to escape from their own feelings, from their own capability. There is a moment when the drama, the horrible incident, may not have even happened. But it’s a question of escaping this feeling that goes so deep inside yourself.

Nos EnfantsOur Children is very much about parenthood, and your latest film The Past is too. Do you think that as you get older you’re being naturally drawn to these themes?
I don’t know. I think that the more you grow, the more mature characters you want to be given, and I’m just really glad that at my age – 32 – I can play fathers, so I’m thankful to those directors for giving me those parts.

Do you quite enjoy being 32 as an actor? Because I suppose you can play fathers, but also youthful roles too. It’s quite a nice balance.
Yeah, it’s just a question of having a beard or not [laughs].

We’ve spoken briefly about The Past already… How was it working with Asghar Farhadi?
It was great, this guy is a master. I had a completely new experience that was something brand new. He has this technique, you know people who direct ballet or dance, he’s like that. He is so precise, he tells you to say a line and says, ‘I want to feel this at that moment’, so you feel absolutely free before the shoot that you can talk and change and try to bring your character to another level, but when the shooting begins, you have to stay to what he says, stick to it. The only thing I had to think, and had to deal with, was my feelings and my ability to answer to his demands.

His films are so wonderful and he makes real life so dramatic. I’m surprised he doesn’t let you go off script at all, because the dialogue is so naturalistic…
We don’t have any improvisation, it’s the opposite. We can improvise and do everything before the day of shooting, because we have like two months of rehearsal. But when everything begins, from the very first action, nothing changes, we just stick to the script and the lines and to what he says, his instructions. He goes so deeply in details that he can create such a great and unbelievable impression of reality. He is creating the improvisation, if you see what I mean. Of life.

There is a lot of talk about this Hollywood remake of A Prophet – what are your thoughts on that? Would you be interested in seeing it?
It’s just what it is. We did our movie and now they’re going to make another one – but I heard who is going to write it, and Dennis Lehane is a great, he’ll do something really good. I’m curious to see it. I’m interested to see what they’re going to do, how they’re going to transpose it. We’ll see.

Do you have any plans yourself to perhaps make a movie in Hollywood?
I would love to do that, you know, but I would have to have a good proposition for that and if they really want me to be there. Why should I go there if there is nothing to do? I would love to, but I don’t have a proposition from the people I am interested and fascinated by. So what can I do? I’m just waiting for a good opportunity. Even if its a fourth character, or just three days of shooting, I’d prefer to have something that makes me happy than doing something just to get another film.

So what are you working on at the moment?
I’m playing in a comedy, it’s my first comedy [laughs]. I love it! I’m just with the best you can find in France, Eric Toledano and Olivier Nakache who made Untouchable with Omar Sy. They’re really nice and clever and they know their own art, so they’re teaching me what is a comedy now.

Our Children is available to purchase now on DVD and Blu-ray.