French director Quentin Dupieux’s upcoming film Full Phil stars Woody Harrelson and Kristen Stewart in a surreal, darkly comic story about a wealthy American industrialist seeking to reconnect with his adult daughter amid the lavish backdrop of Paris. The film, which is currently in post-production, has been described by Dupieux as a nightmarish twist on the familiar trope of Americans abroad, likened to Emily in Paris “in hell,” creating an unsettling, fever-dream version of that scenario. This project marks the first collaboration between Harrelson and Stewart and is generating attention based on its unusual blend of absurdity, emotion, and fantasy.
A Unique Vision: Dupieux on Making an English-Language Film
Dupieux, known for his prolific and distinctive filmmaking style, developed Full Phil from a desire to return to English-language cinema after producing a string of French films. Having started his career with English projects such as Rubber, he explains that working in English shifts his creative mindset. In an exclusive interview, Dupieux shared,
“When you change languages, your brain enters a slightly different zone. It’s very interesting,”
highlighting how language influences his artistic process. After a decade focused on French films, Dupieux sought this new linguistic challenge, embracing the different rhythms and musicality inherent in English dialogue to refresh his creative output. This shift also opened new opportunities to collaborate with American talents like Woody Harrelson.
Bringing the Cast Together: Chemistry Between Woody Harrelson and Kristen Stewart
Full Phil features a notable ensemble that includes Charlotte Le Bon, Emma Mackey, Nassim Lyes, Tim Heidecker, and Eric Wareheim alongside Harrelson and Stewart. Dupieux emphasized that establishing a believable father-daughter dynamic was central to the film’s success. Despite the film’s surreal and absurd elements, Dupieux insisted on creating “believable worlds” where character relationships resonate with emotional truth. He remarked,
“Even if my films are often absurd, I always want believable worlds. I wouldn’t have liked it if they didn’t feel like family,”
and added,
“But they’re great professionals. We never questioned it. He really is her dad, she really is his daughter.”
This authenticity forms the emotional core of the story, even as the narrative twists into more fantastical territory.
The Surreal and Fantastical Elements Underlying the Story
While the film ostensibly follows a widowed father’s attempts to reconnect with his 30-year-old daughter, Dupieux clarifies that Full Phil is not a straightforward family drama. He explains that pure emotional exploration is not his focus; instead, he leans into fantasy and unconventional humor to engage audiences. The storyline is infused with intriguing subplots, including references to French cuisine, a 1950s horror film, and a disruptive hotel employee, blending disparate elements into a playful yet unsettling mix. Dupieux described the film’s concept as an “amusement park” ride, offering emotional, comedic, and fantastical experiences. He elaborated,
“The film is funny in other ways. I started with this father-daughter story, and then there’s a second film inside the film,”
underscoring the meta and layered nature of the work.
Collaboration with Producer Hugo Selignac and Continued Partnership
The production of Full Phil is led by producer Hugo Selignac of Paris-based Chi-Fou-Mi Productions, part of the Mediawan group. This team has collaborated on eight films in six years, including titles such as Mandibules, Smoking Causes Coughing, and The Piano Accident. Their ongoing partnership underscores a shared creative vision and efficiency in bringing distinct projects to fruition. Dupieux and Selignac are reportedly moving forward with new ventures involving American actors, continuing their transatlantic artistic approach. Dupieux expressed eagerness to explore more American talent, noting,
“In France, I’m close to exhausting the possibilities. In the U.S., I’m just getting started,”
indicating a broadening scope for upcoming projects.
Woody Harrelson’s Intellectual Appeal to Dupieux’s Filmmaking Style
Harrelson’s engagement with Dupieux’s work began when he saw two of the director’s previous films, The Second Act and Yannick. These films, notable for their heavy reliance on dialogue and minimal action, resonated with Harrelson’s intellectual sensibilities. Dupieux remarked on Harrelson’s background with experimental cinema, mentioning that the actor once created a single-shot film broadcast live, highlighting a shared appreciation for theatrical and dialogue-driven storytelling. This connection helped launch the project quickly. Harrelson agreed to participate without reading the script, an unusual choice reflecting his enthusiasm. Dupieux credits Harrelson’s commitment as instrumental in expediting the development and production phases.
Kristen Stewart Joins the Cast with Enthusiasm and Mystery
Finding the right actress to play the daughter was a priority. After assessing availability and chemistry, Dupieux was confident that Kristen Stewart’s casting was perfect. Stewart took a weekend to consider the role and quickly committed, drawn by the film’s challenges and unique elements. The director hinted at a “delicate aspect” in Stewart’s performance involving French cuisine, without divulging details, signaling a physical or thematic transformation outside typical demands such as stunts or drastic appearance changes. Stewart’s bravery and trust in Dupieux’s almost unorthodox directorial style contributed to a smooth working relationship on set.
Blending Different Genres and Settings Through On-Location Filming in Paris
Unlike many productions that rely heavily on studio sets, Full Phil was filmed entirely on location in Paris, using authentic streets and buildings to enrich its atmosphere and storytelling. Dupieux viewed this choice as essential to preserve the city’s charm and avoid artificiality, especially given the film’s themes involving Americans encountering the cultural clichés of Paris. This tangible sense of place complements the film’s surreal narrative elements. Dupieux compared the project to a twisted version of popular portrayals of Americans in Paris, insisting that it was something new and unsettling. He explained,
“It really takes place in Paris, in real streets and buildings, and that gives it real charm,”
underscoring the importance of genuine environments in his vision.
Distinctive Directing Style That Encourages Spontaneity Within Structure
Dupieux described his directing approach as meticulously prepared yet flexible, likening the script to a musical score that guides performance without stifling spontaneity. He explained that he “works by ear,” carefully listening to rehearsals and takes to shape performances organically. When actors deliver lines that feel off, he requests adjustments, emphasizing rhythm and tone akin to musical performance. Both Harrelson and Stewart adapted quickly to this unusual method, initially observing then fully engaging with the process. Dupieux credited the calm and focused atmosphere on set as fostering this productive dynamic.
Efficient Filming Process Maximizes Actor Engagement
The film’s production moved swiftly, with long shooting days that differed from traditional sets where actors wait idly. Dupieux mentioned that Harrelson and Stewart were consistently present and active during the entire filming schedule. To conserve energy and maintain quality, Dupieux pre-edited footage during shooting, enabling him to avoid superfluous takes. This precise, no-waste method allowed actors to avoid exhaustion and kept the production tight and energetic. By cutting unnecessary scenes early, Dupieux maintained creative momentum and avoided the typical delays often associated with longer shoots.
Anticipation Builds as Editing Nears Completion
Currently finalizing the editing phase, Dupieux expressed excitement about having created something unlike his previous work. He described the experience of making this English-language film with a diverse international cast as a new artistic chapter. Dupieux compared cinema’s creative process to cooking, acknowledging that while some “recipes” fail, the mix of ingredients in Full Phil coalesced successfully. The involvement of Woody Harrelson, Kristen Stewart, Charlotte Le Bon, and the comedic duo Tim and Eric adds distinctive flavors to the film’s unique tone and style.
Future Projects Reflect a Strong Commitment to English-Language Films
In addition to Full Phil, Dupieux is already developing further projects in English, embracing the new linguistic rhythm as a refreshing change. While he remains proud of his French-language films, this foray into American cinema is opening doors for new collaborations. Dupieux is mindful of the fast pace required for his films and recognizes that working with big stars in the U.S. can be challenging due to scheduling and slower decision-making. Nevertheless, he remains hopeful and determined, emphasizing that the successful experience with Harrelson and Stewart could encourage other actors to embrace his rapid filmmaking style. Dupieux affirmed,
“Woody and Kristen were the first to try it. They loved it. It went very well. And we hope to convince others to go just as fast.”
