French actress Marion Cotillard graces the March cover of Interview Magazine, looking retro chic with smoky eyes and red lips. The face of Dior poses for Craig McDean while wearing bold looks from the spring collections of Givenchy, Sonia Rykiel and Saint Laurent by Hedi Slimane amongst others in the film noir-esque images. Fashion editor: Karl Templer.
”Talking about myself to someone I don’t know . . . has turned me into a wild beast when it comes to press. I’ve noticed that it’s creating something kind of out of focus about myself. ” —Marion Cotillard
In some ways Marion Cotillard seems like a movie star out of another era, as sultry and soft-lit as a 1940s George Hurrell portrait. Maybe that’s because—at least for American audiences—she appeared fully formed in her wrenching and accomplished performance as Edith Piaf in 2007′s La Vie en Rose (for which she won an Academy Award). She arrived, in other words, not as Girl No. 1 or even Cute Female Lead, but as a fully fledged artist and star. In her increasingly varied and ambitious roles since Piaf, Cotillard has maintained that elegant allure. The characters she inhabits are adults, very often haunted by the lives they’ve lived (as the crippled whale trainer in 2012′s Rust and Bone and the gangster moll in 2009′s Public Enemies), or even by lives merely imagined (as with her tragic dreamer in 2011′s Midnight in Paris, or the purgatory-bound wraith in 2010′s Inception). Often, Cotillard’s ability to open up wounds can be almost unbearable to watch.
Fitting, then, that the 38-year-old Parisian actress should attempt literature’s most haunted heroine, Lady Macbeth, in a forthcoming Justin Kurzel-directed film adaptation of Shakespeare’s Scottish Play. Moreover, in both of her movies arriving this spring, Cotillard plays prostitutes (it’s actually the third time in a year she’s taken on the world’s oldest profession if you count her role in the music video for David Bowie’s “The Next Day”). In James Gray’s The Immigrant, out this month, Cotillard steps off a boat from Poland into 1921 New York, where she is immediately forced into the sex trade by Joaquin Phoenix’s cruelty incarnate; and in Blood Ties, opening next month, a ’70s crime saga co-written by Gray and directed by Cotillard’s boyfriend, Guillaume Canet, Cotillard plays an addict who turns tricks to support her children.
A new mother herself (Marcel, her son with Canet, is 2), Cotillard spends her time off-set as the face of Dior and a supporter of Greenpeace. Writer and performer John Cameron Mitchell directed Cotillard in the Dior fashion films Lady Grey London (2010) and L.A.dy Dior (2011). The two became fast friends, and this past January, spoke by phone while Cotillard was in London preparing to get her hands dirty.
By John Cameron Mitchell / Photography Craig Mcdean
See more images from the shoot and read the article on InterviewMagazine.com