Laurence Clerc

Laurence Clerc’s name pops up in some wild corners of French cinema, and honestly, if you’re not paying attention, you’ll miss how much ground she’s covered. I mean, just look at her credits—“Oxygen” (2021) is this suffocatingly tense sci-fi flick that basically traps you in a pod with Mélanie Laurent and makes you question, well, everything about memory, survival, and technology. Not for the claustrophobic, and yeah, Clerc’s fingerprints are all over that mood. Then there’s “High Life” (2018). If you thought space movies were getting a bit too glossy, this one just yanks you right back into the weird, raw, and kinda uncomfortable parts of human existence, all floating around in deep space with Robert Pattinson looking like he hasn’t slept in a decade. It’s haunting and beautiful and just a little bit gross, like a fever dream you can’t shake off. And let’s not gloss over “La vie d’Adèle” (2013), which just totally blew up at Cannes and had everyone talking (and arguing) about love, desire, and all the messy, heartbreaking stuff in between. That film just sits with you, you know? Clerc’s got this knack for picking projects that poke at raw nerves, stories that feel lived-in and real, even when they’re set light years away or locked in a tiny box. She’s not just along for the ride, she’s driving the vibe—edgy, uncompromising, and totally unafraid to push the envelope.