22/11/2024 - The filmmakers discuss the genesis and process behind their film following the journey of a woman in a situation of violence finding a new life

Breathing Underwater [+see also:
film review
trailer
interview: Eric Lamhène, Rae Lyn Lee
film profile], a Luxembourgish-Belgian co-production following the journey of a woman escaping domestic violence to find herself a new life with the help of a women’s shelter and its network, has won the Cineuropa Award and the Special Jury Prize at the Lecce European Film Festival (read the news). Cineuropa talked with writer-director Eric Lamhène and writer-cinematographer Rae Lyn Lee to tank about the genesis of the project and their collaboration.

Cineuropa: What inspired you to tackle such a sensitive subject, and how did you approach portraying the nuances of Emma’s journey authentically?
Eric Lamhène: Quite frankly, this all started when my creative partner and I were doing research for an entirely different film that we were writing with a character that had experienced domestic violence in her past. Like many people who didn’t know much about the subject matter, besides what already existed in films and television, we had a preconceived notion of what domestic violence was and that women’s shelters were a dark, sad hiding place for beaten women. We were very kindly allowed access to a women’s shelter and as we were being showed around, we saw an entirely different world before us. The shelter was a place that was full of women and children from many different countries, ethnicities, young and old. There was so much life, love and strength in this house and as we delved deeper, we knew that this was a story that needed to be told.

There is only so much we can do in a script, to create the blueprint or a guide for Emma’s journey. The magnificent Carla Juri gave so much to this role. There were many deep discussions that went into the portrayal of Emma. Carla and I checked back with each other a lot and together with Rae Lyn, who was also the director of photography of the film, we created a safe space for the actors and gave them the liberty to take their interpretations further than what was written on the page. It was a mix of mutual trust, flexibility, honesty, and a deep empathy for what we were doing that, I believe, brought us to nuance.

How did your collaboration with Rae Lyn Lee shape the narrative?
EL: We’ve been collaborating since we met at the London Film School over a decade ago. Over the years, we’ve realised that we have very complementary skills and sensibilities when it comes to filmmaking and cinema. And then there is the trust. Having written this film together, we challenged each other’s perspectives and what it is to be a man or a woman in this world. Her own personal experiences of violence informed the writing of the characters. It is important to say that it wasn’t a binary male versus female type discussion. But rather a deep emotional, psychological exploration of how we experience the world. Combined with the fact that we were both present when we spoke to the many women who graciously shared their personal stories with us, we worked carefully to pull the threads together and write a narrative that was empathetic and true to women’s experiences. There is a delicate play in the film between the male and female narrative, but clearly, this is Emma’s journey, so we see it through her eyes.

The visual language in a story like this is pivotal to capturing both trauma and resilience. How did you use cinematography to reflect Emma’s transformation, from her initial withdrawal to her eventual empowerment?
Rae Lyn Lee: This film was always about experiencing Emma’s journey, so the photography was very organic. We are often very close to the characters, especially Emma – so close you can hear her breathe. Almost all the shots are handheld, and the first assistant and I worked sometimes in an almost documentary style, so we were watching and reacting to the actors spontaneously at times. And when we were static, we strived for visual poetry – in order to convey emotions and narratives that were not in the dialogue. Some deep emotions could not be told, but only subtly felt with the image. The lighting is a counterpoint to the darkness and pain of Emma’s experience. In this film, where there is darkness, we have light. It is a subtle statement of strength, which follows Emma throughout the film.

What was your approach to creating the visual language of the story, and how did it intertwine with Eric’s direction?
RLL: Our approach to the visual language of the film was grounded in empathy, truth, and respect. From the outset, Eric and I were committed to ensuring that neither the camera nor sound would judge or exploit the subjects of the story. We collaborated closely with all the visual and technical departments to carefully craft the world of the film. Every element —props, costumes, hair, makeup, and lighting— was thoughtfully designed to create the right colours, tones, and textures. Many of the items you see in the women’s shelter were borrowed from real shelters in Luxembourg, bringing with them a history and life of their own.

These authentic details became the canvas for the actors to inhabit, enriching the storytelling. By aligning characters, spaces, and objects within the frame, we could convey a deeper narrative through a single shot—where even a texture or an item could hold meaning. This collaborative approach made our work as director and cinematographer much easier and allowed us to create a film that was more layered and resonant.

Breathing Underwater explores themes of solidarity and healing within a women’s shelter. What message did you hope to convey about the power of community and resilience, and how do you feel the film resonates with current social issues surrounding domestic violence?
EL: Unfortunately, women’s rights and issues surrounding domestic violence continue to face significant challenges across the globe. Despite progress in some areas, systemic barriers such as patriarchal structures and politics often get in the way of meaningful change. Harmful power dynamics are perpetrated, normalising control and violence against women while marginalising their voices. At the same time, political agendas frequently sideline women’s rights, either by de-prioritising them or by actively undermining legislation designed to protect and empower women.

RLL: This is all made worse by social stigma, a lack of resources, and insufficient education about gender equality, creating a cycle that traps survivors of domestic violence and delays the fight for equal rights. Addressing these issues requires collective effort —both governmental/legislative and grassroots— and unwavering advocacy for education and to challenge the systems that uphold injustice. On a fundamental level, if even one person watches this film and recognises that they, or someone they know, is in a situation of violence —especially when it’s difficult to acknowledge psychological or sexual violence as it is happening— or if it helps change just one life for the better, then this film will have fulfilled its purpose. Through Breathing Underwater, our message is simple: we see you and you are not alone.