Sexe Oral - Junna Chif: Le s3x3 chez les personnes handicapées

Episode Date: June 25, 2026

Cette semaine sur le podcast, Lysandre et Joanie reçoivent Junna Chif, réalisatrice et scénariste du film Invisibles, pour une conversation aussi fascinante que nécessaire sur la s3xualité, le handicap, le travail du s3xe et les réalités que notre société préfère souvent ignorer.Junna raconte comment un simple article lu il y a plusieurs années l'a menée dans un projet de recherche qui a transformé sa vision du monde. Pendant plus de sept ans, elle a rencontré des travailleuses du s3xe, des personnes en situation de handicap et des spécialistes afin de mieux comprendre une réalité dont on parle très peu : la vie affective et s3xuelle des personnes handicapées.Ensemble, elles abordent des sujets aussi complexes que la représentation des communautés marginalisées au cinéma, les préjugés entourant le handicap, la décriminalisation du travail du s3xe, l'assistance s3xuelle, le consentement, l'intimité et l'importance de raconter des histoires qui reflètent réellement la diversité des expériences humaines.Junna partage également les coulisses du tournage d’Invisibles, son processus de recherche, les réactions bouleversantes reçues après la sortie du film et les nombreuses idées reçues qu'elle a elle-même dû déconstruire au fil de ses rencontres.On parle aussi de :— La s3xualité des personnes en situation de handicap— Les préjugés entourant le désir et l'intimité— Le travail du se3e et les stéréotypes qui persistent— Les travailleuses du sexe auprès d'une clientèle handicapée— La décriminalisation du travail du s3xe— La représentation au cinéma des communautés marginalisées— Les défis de filmer des scènes d'intimité de façon respectueuse— Les coulisses du film Invisibles— Les témoignages qui ont marqué Junna— Les réactions du public après la sortie du film— Son processus créatif comme réalisatrice et scénariste— Son prochain projet sur la traite humaine et l'exploitation s3xuelleLe podcast est présenté par OxioUtilise le code promo SEXEORAL pour obtenir 1 mois gratuit sur https://bit.ly/oxio-sexeoralLe podcast est présenté par Éros et CompagnieUtilise le code promo SEXEORAL pour 15% de rabais sur https://bit.ly/eros-promodemo🔔 Abonne-toi pour ne pas manquer les prochains épisodes.Pour suivre Lysandre Nadeau :Instagram : @lysandrenadeauPour suivre Joanie Grenier :Instagram : @joaniegrenier69Pour suivre Junna Chif :Instagram : @junnachifPour devenir partenaire du balado :[e-mail] travailler avec l’équipe du balado :[e-mail] Hosted on Acast. See acast.com/privacy for more information.

I'm very excited to be to be a realistist. You're a realistist I'm talking about how he's a work of sex, to come to a clientele of a

situation of handicap. What's who my interest is it, how it's actually I never thought, I've never thought to people who even to be

even to their sexuality, and also at the work of sex by a person in situation of handicap. The first person

who has brought the person in situation handicap, and he said, I'm finally really content to have a

film who me represent. And after But that, there's a travailist of sex. She said, I'm going to see in this film that. All right, after, there's one that one that has left in the mind,

and she said, me also. There's a lot of who's going to be in search for my next. It's about the trait human. I've already started to encounter these women who have been soldue.

The podcast of today is presented by Eros and Company. And Eros and Company, you have organized a little concour. It's for those who book

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call you also so write on telephone or not sorry the first at O for the game. Good demo. Today on podcast I'm very excited

to be excited to be a good you know you're a part of you're an realist you're

an realist you've written that's called invisible yeah and it's really a subject super interesting

so we have the good to sit with you and that you know you can you can be

you can be the film to see what the story for the people who people who don't know

so it so it's a story of who decided to quitted the work of sex, but just before to quit, she saw a new client who is in situation

of handicap. And after having met her client, she discovers that there's that she has not not even never ever

that's not even that, she knows his work with this new clientele, of persons in situations of

handicap. How? How? First, I've got to know how you've been real-at-at-trice,

a-old- -old-old. My God. My God. You're really young, in plus. We're going to

like, we're in a matter of time of time. We're at a same age. I know. I'm in general. We're young, Tavaro.

We're young. We're so much. We're so much. We're so much. We're so much. When I was little, and that I used

these books, on the role principal, you know, at the eyes of the protagonist, I'm imagining always,

how I was going to be film me. And I was not even that I think I wanted to be

realist at this moment but I was always, I'd like, the camera will be there the camera

will be there and then it's going to see that so. So, I'm imagining how it's

how it's visuallyly so I think it's back then that's that that's back then.

Vers, of 13, 14, 14, I said I was was able to I'm

not, it's not an option it, it's like it's that I'm that

that you're how you're and we're going to, I'm going to, I'm going to this subject. Yeah. In fact, there are almost 10 years, I was going to, I was reading these articles, and I was

a time on a article that how a jobist of sex has come to encounter a clientele of a person in a situation of handicap. She had had a client, she's got in love with these clients and they got married, and there had an story romantic.

But the history romantic me not really interested. What I'm interested, because I think that a bit cliché, also. What he interested

was it was how it's ever that I never never thought to people to get to their sexuality

and also at their sexuality, and also, at work of the sex, by the person in situations, I've learned

there's been there's been in France to me to form a pass. In fact, it's a

formation that form of people who become assitance sexual for persons in situation

of handicapped. And in revenant in Morale, I've I've started to do you know,

the person in situations of handicapped than the people who those people that I'm talking about,

you know, you know, you know, you know, I'm saying, you know, I've wanted to view that,

of the point of view, that, of a family that, who decided to do that, and, you, not,

the family exploited, and, in fact, it's what I know, that's often we don't,

we don't, we're not, often, these women, sometimes, often, victims, it's not these women who

research the aid, that we have need to help, and the same for the person in a situation of handicap, the same thing,

it's the people that's not the person that's not people who are very nice, and who are all kinds, and there were some

there's bad ass, and there, you have a lot, and it's these people that that I wanted just to show to the screen

because I have an impression that we don't know or that we all, of a certain people

Antiqueped, they're all gentle and they're They're like Yeah, they're Exactly, in the victimization, often by the

two-cote in fact. Bravo, in fact, that, to have done to have to be able to

and then to be able to and that's, it's one of the things, I'm, I'm sure, because Sonia

that had had done to this film that, Sonya van Saches, that's how did you have been to your first,

how she had found that? that? Our our encounter with Sonia, in fact, it was at the

first of film, at the first North American, it was at the festival, the Cinemania, and I invited for that

she had been interviewed, I interviewed plenty of other people, and I, and I, and I was

proposed at the end of the question, for the question if I'm directly in line with

the work of sex, for that I'm not a job of sex, so I'm not a question that's

address not to me. And in fact, someone has posed a question, and she has taken the micro, and she said, in fact, before to respond to the question, is what I can just say, and then, she said, she said, she said that it's the first time, her having a film, in fact, that, who, well, who, that revisibilize

not her work, that he does not invisible. And she was really content, and really reconnoissement. I was really touched, because, in fact, what's what I'm the most with the film that's the people are in

the time of people who are and they're saying, okay, we're not, we're not, we're representing. And a better

way, and we're not being represented before. Same thing with the person in situation of handicap.

She'll have pleaded all along, it's all right? Apparently, she'll be she'd probably,

she'd apparently, she has been apparently our little one of my way, yes,

it's sure, Kallin. I mean, before I want to I just revening to because we're like you're like

banalement but banalement it's not banalement? You're not you're not you're the

right to say it's badalem so you have made a five years, in fact it for seven

in a total seven years but five years in total that you're and you're to do

make a formation in France for to do for doing to be a worker's of sex

with the persons in a situation of handicap? Yeah. Is it like, is that you can't know do that?

Yes. In fact, in France, it's a because when I'm going to see the formation, they don't

do you know. This formation that in particular, they were not like the work you for us. For us,

it's really the assistance sexual for persons in a situation of a handicap. A other

language, no, but, while, so, I mean, so, if the

if the people, if it's with a person that's with a person who is of the work of sex, I mean, yeah,

the person can't be not move to his car, but it's not more of the work of sex, one that has

with a person who can be able to be able to be able to see that the assistance sexual,

and like, like many people do you see that, they want to differentiate that because they want that

that's so that's not so much that's not so, they're, they're like a hierarchisization

of the work of sex that I try also to do push in the film, in the

case, we'll have come back. But the formation, it's a formation of a school of a time,

it's a time of the things of the different handicapped, but also on the law, because it's

criminal, to do it, for that's not decriminalized, it's a crime, it's a lot on

all the aspects that entour the practice of the assistance sexual, so we have really a

group, we had, time of the formation that was done by a person in persuasion

on a handicap, by someone who practice the job of that's a job of work, by someone who is more the person, so, it's a

complete like a profession professional. It's not, in fact, you know, in fact, I'm not,

I'm not, I'm not, I'm not practiqued with a person, but, you know, we had some, we have

some of, there, we're , there, some, activities, that we had done with the other,

for kind of with some some of some, some kind of practice, you can practice. Yes,

and, and, some, some, techniques. How to learn the way, by example.

It's that, there's that. There's a but what's what's the real, is that all the people are

seeing, I've met 15% have all of a clientele of persons in a social handicap, they've

not seen of their formation. And this clientele is part of their client,

you know, a certain percentage, there's there a there's there on some people,

there's there's a lot, you know, so, so, so, so, I've seen

this formation at the beginning of my research, you know, because I wanted to try to understand,

because I was also I had not be in the film today because I'd have written because I'd

have written these cliches, you know, that's how your interest for this milieu

that has appeared? Yeah. I think that the base, the subjects are the

subjects social, political of community and that are mal-represented, I think

I'm already, I'm a trait to get a bit more stigmatized. And then, I'm going to

after some after the subjects feminine in general and the subject that's, you know, I mean, I'm not a film

on the sexuality if the sexuality me interest not. So, it's the car human, I'm interested, the car in society

me interest. So, it's already these subjects who are, even my next film, there's a

line with that also, it's not the same thing that the film invisible, but, you know,

a link also with the femininity, I don't say femininity, but the feminine and with the car,

and especially of the subject that's that we're marginalize and that's I'm sure so. Is that important for

you, in fact, I don't know I'm pretty these actors, but is that person in a situation

of handicap in the film is a person in a situation of handicap? Is that the The Traveyoroes of Sex in the film is a real Traveyoroose of Sex?

Is it or not? In fact, there are many people in a situation handicap in the film, there's really three roles principal, and there are some role secondaire, and there's, like,

there's, like, there's a crotty, like, kind? Not crotty, but it's, like, bad, bad, and mechance. Yeah, yeah,

yeah, I'm like, crotty, excuse me, the accent, but it's, there's a role not, uh... Yeah, in fact, there's a person

who's just people who's just people, it's really people, it's really people, in situations of handicap. All the world. And it's important in,

you know, in my approach to, I'm for talking to people who are in not going to play with people, people who are playing with them

to play. It's just recreat the taboo to not, you know, the taboo to in fact, at part, one person that,

in fact, we can't, the person who used a handicap, is Stefan Kreit. And it's a role that is very controversial,

we love, we don't, it, it's a manipulator, at the same time, he is fin. So I've tried to try a person in a situation of handicap for joy this role, and I've given a lot of difficulty,

because it's a role just complex to play. Be and it's just complex to play. So, finally, I've decided to take Stefan Krette who has, like, 35 years of experience, if it's not more, for it, and he's formed, also. I've made friends in a person in suicide and handicapped,

and there have viewed, we've had worked there. So, you know, we've worked there But if you know, all the other people, we've really created the

scenes around their handicap, and we're really adapted, you know, all the scenes of sex, you know, and the personage of Floyd,

by example, that's the he's paralyzed at the complete. But, you know, I'm not, you know, he's not,

so, he's got to adaptate the sexuality, we have adapted all the scenes to him, even if he

he's used a personage, even, it's more difficult to work with these persons that,

that's just a adapt to, or the person who's not really in a situation of handicap, is what the

most the most... In fact, it was... In fact, I'm really adapted the scenario to the

person to the time, but I had that I had to I was... I was I went to to say,

I was made a super good friend, and I'm that I'm that I'm going to

find out of your sight, in vestments without that you know, so, so I had

my paper, my scenario on the side. And then, like, okay, Floyd, I'm going to make my mind there, I'm going to see if I'm going to my own to your foothoil, you know, so, so, I'm trying, to try and, you know,

it's going to, ah, it's not, so we're not so, we're not, so, I'm going to, like, I'm also, of some end of the same, or with, a other personage, in fact, Patrick, who is an other convoire, but he has a paralysis cerebral, so, he has, you know, he has

some, we have a difficulty to understand what he says, and, and, he, he, not not for he can't do you

know, so there there's a moment of the he's he's placed on a cuyer

but it's he's I'm going to I'm placer in a place for bayser so that

that's it's like finished the scenario because he's he had probably probably

probably we've we've tried a bit all all adapted

and yeah but it's cool that that's it's like

we're fascinated by your work like, is it like to be a product is like, is it

like you're like to be able to get a little because they're like the actors do that's yeah, Leonardo,

I think of this example, he's going to full to be able to make a plan of but I know,

but you're realisattors but you were, you're realizate or not? No,

just synarist and he was a but I know that but I'm in fact it's

a choice I mean but it's a common? Is it you do you

think that is I don't know if it's common. I don't know if it's common. I'm not not sure. I'm not. You're not. Thank you. Thank you.

But a way of, but a way of how much try to be able to be able to be able to especially if I partying to these communities. You know, if I'd have worked as to sex,

well, I could be maybe write some to be re-enceeing on many of things even if I think that you know to be in because it's

it's a little bit but I mean, I think it was the minimum to do, if I wanted to make a film like that, it was to be re-rengthenia the most possible. Yeah, but in doing, in any way, I've ever looked to go, I feel like, I'm going to be, you know, I'm a category, like,

of more. Thank you. You're really honest. The personage handicapped, that I said, croted, disagree, disagreable. That's, what's, what's,

why you've wanted to do, because a person like that? In situation of handicapped, that we don't, But, you know, in the society, when we talk to people who are not handicapped, they attend to people

aggrable, that's the world aggrable, but there's the same in the community of the person in a situation of handicap.

So, just in when you're in a person who has a handicap, but that doesn't know, it's just it's just to

get to be just the rent like that other. And, you know, if we, you know, when we're

a person in a situation of a disability, we're, oh, it's a good person, it has

a good value, you know, she, she she, she, she, she, she, I'm a little, you know, my two conseilier at the scenarioization, Floyd, in one, two, Floyd, he said, I'd like, I'd ever

to see, bad ass, or, genre, or, like, a true of cue. We can't have a true of cue who's an handicap? I was, because it exists, and it's just a stigmatized that the image that we have of the person in social handicap

who is all, and jolly, but no, there, there's a true of And I got I've got also the trot of cues, and they're and they're like,

hey boy. In the card of the film? Well, yeah, in my research, I mean, I've seen, I interviewed,

plenty of people, and there's that I'm not at least, there's a like, you know, he's not different than an other guy,

yeah, yeah. So I was, like, justly, we'd, would be to show

also, it's for that. In your, you know, you did, you did, you did, you did it

deconstrued in the cliches, let's what's you've deconstrued the plus, let's turn

what I'm doing the most? When you're not that when we're assassinated Tando?

Yeah. But, but stine me, Tonto you can be Mostinra. Something

that I deconstrued well, in fact, just just that the work,

oh, be, you go, you've Mostin, if you. the work of sex

with these persons in situation of handicap, it's not different of the work of sex with a person

not in a situation of handicap. Yes, there are perhaps things that you know, how you can't use a left

person, how, how, I don't know, replace a person who can't be able to be able to

be technical. But is not different than an other client, I mean, there exists there are

there are, there There exists there's clients who have 40 years and who have never

made the love before. It's not not a handicap, so. So,

so, everything I think, and I'm I thought, really, it'd be really more humble

to be a job of sex with people in a situation of handicap, but there exist

there are in a situation of people, because there there's there's there's

there's people, but they're, I'm, they're, they're like a sort of something that's something that they derange

in their sexuality and they're not at least, all the final it's the same job it's the same job of work of sex and I

think the people say they're not all the world but can't you have to be a hierarchy and what they say they're saying

they're doing to do the putarchy I'm not but it's the words that they're using or of the hierarchy of putt it's like

oh yeah you're better so it's more your job But, you, view that you see that people in

a child, it's not not so much well, but there, you know, you know, the job

of an other female who does that that's, so that I think it's something that I really destigmatized

also. And there, where is we have not the same point of view at the after that I'm,

okay, I'm sure, that's, at that, level legality, I'm, I'm, because,

like, because, because, that's not because, because, I'm, I'd say,

I'd say, I'd have made the, actually, the, at the sexual of the sexual of the

because these people they have really, like, not access, and it's the people, they're not, they're not

going to be in a bar, and, you know, I'd say, I'd like, I'd like that, but after that,

after that, I'd say, there's a person who's on a handicap who, who have been a sexuality,

and that's that, and that's that, and it would I would have, again, create an etiquette on where you have an handicap, so you're going to be a category different.

And also, they'll rather have to have the hierarchy of handicapped, because the person avugled, example, is not ascent-handicaped than the person who doesn't so, he would not have access to

that, but the other who doesn't have access to... It's a... It's very complicated. So, you know, along me, and along many of the

sex, is that we're going to decriminalize the entirety of the sex, willing not to say that the work of sex,

in fact, the exploitation juvenile, it's not the work of sex, or the exploitation of the person, it's not

the work of sex, or the trait human, which is not the crime, the crime, it's that, is that,

is that, decriminalized, just, just, to, to aid more the people are more

more more stigmatized, and have been more , there are there are many,

there are an encodremant, plus, Well, you know, just there's a lot who's just, you know, Sonia me me say,

I'm saying, I'm, if it's something difficult for me, I'm, I'm not, the police

at the police will not come to help me end. Well, if we're decriminalized,

it's not a, you know, the client is not crick, because, in fact, the practice of sex

in a time she, she is not criminalized for her, but all the thing is criminalized,

so the client is criminalized, so the client is a chum, like a criminal, because it's a proxenet. In fact, all of what's

all the whole is criminalized. So, in fact, they're working, these persons that can

work in their, they're in situations really not secureitar because just that allotor is criminalized and they're

not. We're doing for you talk about, obviously, of our phoneisterer internet

preferer, who is OXio. Now, Liz, I just to say, before, I don't know

if you did that, but when you're in logement, you know, do you know, you know, you know,

to say, because your money, you know, more than you get to get in your money, and then you

did it, you do you do you do you do, or it's not you're doing that? I'm, I'm,

how it's the , you pay that? You know, that's the way, I'm going to continue to pay more,

because I'm not the good to pass two hours on the telephone. Oh, yeah, I'm,

I'm not, I'm not, I'm not, I'm not I'm not the want to have want to be back.

Well, Oxio, it's that they're going to do they're not because they're not a contract fixed. Because it's not

because it's not a new new pay more than you know, that's a few that's a year to have a price of price

there's not no, there's no, there's no, that's that's like, oh, my, I'm not, you've got used

the little little little little bit, a view, no business, no business, no business, no reason to

just and durable. It's a relationship, it's a confidence that you batty with OXio. Really.

And, me, that's really something that's really something that's really to pass two hours to pay to negotiate these prices.

And I'm yeah, you know, you're you're going to pay more because you're in the yoll.

Exactly. So, the gang if you'll try to try for the first month and on

OXIO CA with the code sex oral. So, so, thank

OXio and good job. Is that you've talked to have to talk

to to people of the government for what's what they're doing? Why they've done? Why they've decided that's just

she's correct but in the fact she can't be able to her own? Is it a great question? Is it an question? There's a

question? There's a new evolution that has been, there's a something or I know? There's been I've had the

impression that we're we're recule hey, it's a question and I'd feel really mal to respond to

at the place of the sex there because I'm not in the lot, it's just, it's when we

think when we think the general public will often think to the woman that's the woman,

I'm generally but there's there's a woman and all the person who is the person that is obliged

to be that, it's often this image that of the work of sex but

what you It's a few there's not the work of sex, when there's a lot of exploitation and all that. So, and then, I think, I think, it's the government has to be the difficulty to do it, and it's not, and it's not a problem. And there's a lot, and we're doing it, like, to be it, like, we're doing, like, we're doing, like, we're doing, like, we're, pay his studies. They're paying his his students, pay for his children, pay it,

but it can also for these values more noble in the guise, but it's not to us decide for these people,

no, you'd have not to do you have to buy with that with that, we can't decide for the other

but there the government he would like that for these people like. I'm trying. I'm

what's what is, is that has you have a message in particular that you you want to really pass

with your film? I think it's, it's that to make the light on some people that we're

not, and that's judge. You're addressed to them. Yeah, really, to be able

to give the light and the power, and it's for that I have used these work of sex

who have been my conciergey to the person on the disability, also,

the concier of the scenario, because I wanted that it their voice that's their voice that

pass a way to see the better than it's sure I'm sure I'm sure it's sure it's changed

some point of your point of your point of view though. We're really I'm trying I'm like I'm

because my point of view is that all right would be all right all right it's like

a bit like a drug if we if we're it's all the everyone all everyone's

a bit like a bit like a lot of sex there are plenty when he He will be more encodered,

you know, and he will have more of risk, more of the thing, so. So, it's really that's really so,

but is, is that when you're to turn, is, is you're to have an old

success? Whoa, that's a old, a six guy. No, but it's still,

it's, it's all right, and you're to come to have, you have, to arrive, to the Guadloop.

Yeah, I arrived to the Guadlo, I'm, I'm, I'm, a festival a new world

there, a bar, No, in the sense I want to I want to be that the film be viewed and I think

the film is view. The view is the fact that the film voyage, well, it's a subject international,

the travel of sex exists everywhere. The person in a situation of handicap exists everywhere,

so it's a subject, it's not a subject that that's just in Quebec there.

Yes, the film is in in French, you know, in Quebec but I mean, it's

these subjects universal. So I'm content to be able to see how the different public reactists? Everyone is a

different. How do you... In Quebec, there are some darkas, so in Quebec, it's rye, it's a rie

in the time during the film. You know, it's not just the drama, and it's super serious.

Yeah, it's serious as serious as as subject, but it's not about about it but it's

in Belgium they were more jened, so it's Ricaned, or in Guadloup, it was really more jenny.

You know, it's Malaised or? Oh, yeah, there are more people who are there. There are plus of the world in Guadlob. They're not

a bit of course. To see that. Be, to see, of the sexuality of a manner also crue, also, and it's a

pretty fronautal without that sort of but I'm that there's pretty that's a real,

because there there Robert Charleboa who is coming to the film in Guadloup with

his family, and I mean, She said, she said, At the end of the film, I'd have been there's a few when I was

couldn't see. Because I was able to be able. But the film advanced, the more I would have used the end up,

and in fact, I said, I mean it's really liked that. Is it what? Is it some of the penis?

We know, we, we, we, we, we know, we, we, we, we, we,

we, we, we're, we know, we're, we know, you, you,

, you, , you, , We see the body, we see, we see, we see the penis, also. In fact, the manner that's been filmed,

it's really been filmed in sort that we see the actions, we see the movements, but we don't not on the part of the car if we have not been on the pootrine, we will see the man

that's on the pootrine, but is I need to want to make the just the same, no, not, so the bus, it was really to see the camera was really adapted to the

mis in the in-s-in-since, in the porno, the porno heterosexual made by the men, what we're going

to see, okay, we're going from view of the man, so on we're doing the same,

we're doing that's a thing, or that's thing, but the camera has never been

on the top of the line of the comedian, it has always at the heart of his eyes

or by on to the and it's never prioritized to monitor a part of the

car if it's not, but is to catch no, I'd not, I'd try

it was part of the scenes. And the actors, is that the person in social handicap, is there, there had to the difficulty to turn to this genre or there,

there's been, there's still, there's still, there's, there's, it's quite, there's, there's just a lot-al-a-laise

and that you had felt, to have, we, we've really, in fact, we've had, a coordinator

of intimacyity, a counselor, a intimacy, and we have also a, that's, like, passed all the scenes, you know,

that's like, that's the same, I mean, et cetera. In the sense, it's sure that's not the story of all the

story of the character of Elizabeth. Not all the whole whole would have made the same way. It's really a

point of view, but she has really looked all the things, she had not made the same, so we're

having been so we've done the point of the point of the work of the sex, to what's what she

has done really, and it's everything it's made on the plate to turnage, it's

closed set, the plateaus of the fact, there's not had been there's not there's

I mean, it's not easy to necessarily to turn these scenes that. It's not, I mean, it's

not like when all the team is there, you know, you know, you know, it's really respect the

rules of the scenes of our people, who are strict. Well, that's the

regular. Well, there were there's plenty of repetions. We had exposed our

limits, we had really really discussed there's very, very clear, there was

a lot of transparency. And on the plateau of tournage, well, in the cell, there were, we'll say, the two comedians, comedienes, the director photo, who is at the camera, the preeneer of sound, you know, who he had a perche, and even me, I was not at the coat, often, we'd

be a lot, and then, the way, and the, the focus, but, these four, he'd be in the placard, you know, he'd even, Pohl, so, when I'd say, when I'd say, Couped, well, the two persons, so returne directly, we covered the people.

And after that, we'd see the comedians, comedians, if all the people were there, if there were something to express, if there were a result, then after that, it was correct,

there, I could say, I could give my notes of the game, and, et cetera, and continue the tournage. So it's very, very strict, there, there's no improvisation.

And there's zero improvisation. I mean, there had three bizu on the shoe, it was three bisu on the juice. It's not two, it's not four. It's three.

It was very encodered. Okay. And is that, if it's not for this film that, I'm going to have been, so in this

or one other, a scene of sex that finally the actor has said, hey, do you know, I'm not -a-leased,

finally. And then you're like, there's a film that's- what's, what the... Well, there's not

there's not the person or the person or someone has said, oh, I've got could

have been put up that, but we're there's a way, there's there's a because legally the person

would say, ah, finally I'm really, because I'm going to find to say a sex,

or have to go, and you're like, there's a contract that's there's a thing, but I'm

saying, you're not obliging to do you have a case, and finally, I mean, it's for

that also that exists there's there's there's a contract, but there also the

the restant of the person, it's more important, you know, I mean, So he, he's

he's with the actors and he's this person that who comes he's really really with the realisator or the

realisattress also it's really a link between all the world for in fact he can help

the realisator or the realizatrice to arrive at his fin of a way that maybe will

be perhaps maybe the realizatrice has not thought to he will propose

something okay, but this manner, that, it's a way that, it's actually a lot of the same. So, no, no, it's really a facilitator, but really for the two bars, and also

for protect, also the, you know, at the base, it's always been to protect the comedians, but it's really in the two directions. You know,

it's not just for protect the comedians, it's really for that the film be made, and all-a- in all-a-a-

in all-a-a- in all-a-a- I'm a little that's a coordinator. A cordonat-init, yeah. You've seen that?

Someone who did that? In the film? Yeah, yeah. Well, don't know. Well, if you've got

done to have this film that, who's been with you, like you, like you, have,

um, yeah, I think, yeah, I think, yeah, I think the moments,

say, preferer, it was, uh, there were, uh, by example, in the cinema

Beauby. someone, the first person who has a person who was a person in a situation handicap and said

I'm finally really content to be able to see a film who he represent. And after that there's a

sex who has had put the parole, she had the micro and she said, I'm in

this film there, and all right after, there's a one of there's there's

there's there's like, there's there's there's like it's like it's like Sonia

that's with Sonia, in cinema, Beau Bien. And then the people, these women, these people,

are coming to have to live the hand in saying, I'm saying, I'm also, I don't know how many there's a

sex in the cell, you know, I don't that, and there were there's quite many,

and it's all some of the people, I know, I don't, I know, I know, I know,

I know, and in fact, it's, they were not, and they'd be the person that I'm represent to the

film that, I'm me view there, even if it's not my history. So I

have you have been when it's some people of these communities who are that's a validate.

Now I think that's like I think the job has been perhaps that's been maybe the job has been

let's go let's be it this night is who is on a platform on this moment? Now now he

achieve to be in cell we're on it's on trying to look for the platforms

it's but there in some moment because he's still international, he's not still on

all right on on the but it's on it's on it's on Netflix. Netflix is perhaps a

bit more more, there's a lot of sign of nudity, of sexuality I don't know Reval Shabroha that,

the rivalry, it's on Crave It's on Crave, well, Crave de bar. Well, we'll apply Crave. Crave,

I know, contact. Crave? Crave. Well, yeah. We're not this podcast, which is surely extremely

good, for you talk to something that's more important, which is our show of 4 September, so a little rappel, Laskar, for you procure the billets. We'll do a show at the amphitheat,

which is the most show that we've made of all the time, which is the four thousand people. We're going to be the amphitheat Cogéco at

Three Riviers. We'll have Matthew Dufour who will be with us all the night, and Magali St. Vincent

and Pascal Marino. We're really very excited. the last time, there had to have opened on the gason,

so we've been sold to our beer rapidly. So if you want to be any other, depaise

you, we're really really super a heart to live that with you. And plenty of surprises

for you're for you know. There are there's some. There's a filmed in the real

new places, there's got there's been the way to just like the new, just the

as in personage, to not recreate these new places, but really, to go to get in the place,

it's not that's, so that, so it, so, yeah, the Wiggle Room which is

the place mythic Burlesque in Quebec, to Canada, gere by a woman also,

we've turned to Wiggle Room that's for some for some for some certain Burlesque,

so yeah, I, I'm wanted to do these places that, they're trying these

real place for that we're really, and we're not just trying to create

some of the character we're not in the person of the person's realise can you know can you talk about you

talk about this universe? Yeah. And you're form at this again formal. I've got to

I'm not a lot of... I've interviewed a lot of because it's also a milieu marginalised that we

know not, you know, we're coming to know the drag to more more, you we know,

but the burlesque it's still underground, and the burlesque, of what I've discovered, you know, you know, you're,

you're, we're getting the caches Mamelon, and we can't, you know, the string, you know, you can't

a little, and it's really very empowering. It's, you're at nue on scene, but in a way to control

your public, the public you're applauded, so, where you come, can't, you know, you know,

your form, you know, keep, , style also. You know, there's a more classic, a little more, you know, that's, you know,

the burlesque with the frou-frou, the be able to beauless that's more harsh or who is humoristic that we're called the neo-burlesque. So I've really

wanted to play with the medium artistic of the burlesque because, you can tell them communicate of things at the time,

it's in the car. And, again, so that's all the car, and I'm what we're

I'm a I'm a co-chroff also, I'm not a artist burlesque so I'm

really working with the artists burlesque for create the choreography, but I

think it's a way of expression extraordinary and there also there artists burlesques

who are also that's you have done a formation and it's for that

we're there, our our name our another comedian Nadia

Shadi she she has done he had offered some course Burlesque. I even

made some of her with her she's practiced. She's practised and then after that you have been like the choreographies

and it's the artist burlesque and we've got choreographied and we had done after it

so there's there's a job that about that. Is we talk about the process of your

comedian? How do you do you have chosen? Is it has been to have a number

burlesque and you know how it's no? No, in fact there

had been auditioned. And the auditioned, and the auditioned, the person who did the line, you know, to respond to the comedian, it was Floyd, who is a person in a situation of handicap who used in the film. So, before, I wanted that,

that's, they'd be that'd be able to what's it, to play with a person in situation of handicap, that I can understand, it can, sometimes be destabilizing, at the beginning. So I'd want to be that so, I'd want to be able to be then we did the audition

and then you were there you were there you were at you were at all you yeah I did I did all

I did put the casting and then I did you make the person in the camera and the producer and

if there was there was a one to one with each comedian who had auditioned to see

how he's she sent is, is that is she was able with Floyd

just right and what what's what we just to just to see just to see

just see she just to see And I'm... And I was doing that with each one. Because it's important.

And after that... There are how many? How many that we've auditioned? 15, maybe. There are many

who are not going to auditioned also because, I mean, it's these scenes with many nudity,

it's these these are very very vindicatrists, you know, it's not all the

people. I thought it's when you did the, I've made, I've made, I've made, I've made,

there, comedian, but that finally, they'd want to, or, by example, I'd express very clearly the way that I wanted that was filmed, you know, I'd say, he'd have be a nudity, and we

had one who had also very interesting for the role, and that she had really, for example, these limits very valid, by example, I don't want

that my mom, on, so I'm that's been more than five seconds, which is very correct, because it's kind of his image, and this film

will exist for for always after that. So, So, I mean, it was not in my manner to film and to show me, because the bus was not to show a mableon. It was really to show a manor

that would be, I don't know, 10 seconds at the screen, well, if it valet the pen that dur, I'd be not restrain because we've signed it on the contract. So, you know,

we're not going to be auditioned. In fact, she'd have been auditioned for the role of the colloqu, that's the protagonist principal, and she, she,

I would have been auditioned also for the role principal, I feel really. I said, well, yes, and she said, she,

it was really, she, it's, for me, it's, it's, okay, I'd like, I'd like that that's said,

and then we had played a coffee and we've discussed, and then I'm then I'm then I'm proposing

the role. How? What's what's what you've been in her for this role,

a sincerity. Yeah. Yeah. A, a game very simple. I'm very very close to my manner of film. I'm often in

a great plan. I'm very pleased to be comedians and comedians. And I'm really need to the game is very simple and very in subtility. And I've seen at her also. It's, you know,

to see, watch because, without she, , it's not saying that she, it's not not even, you know, we can exprimed a lot, but in doing very I think she

She thought that she had this ability and really in tournage also sometimes we'd make a piece and she said she'd be a

she'd be not she'd be not she'd be good okay I'm gonna do it soon she she she she she she

she had she she had need really very a word and she'd like that she'd like she she'll

yeah so we had a good comprehension that of that she was

is it is your you've had had had several film before the it's my first

long-metrage. But I've made a short-metrage before. How did you have done that to do

do you know a long-metrage? Fatigant. Yeah. And it's a pretty time also? Well,

you know, the tournage a few years, like three around, like, maybe a

bit a little more. And it was also on different seasons. In the film,

we're not just in it's it's been a long period of time, you know,

for the processus of the protagonist And we're going to be in Quebec. So in Quebec, we have the snow, we have to the autumn, we have to the winter.

And there's a lot of all. So, it's also turn in different seasons. Oh, my God. I think that's the instantanity of the social.

They're like, as a project is long, I'm so much so it's really tough to not have the result of all right now.

A long-metrage, you know, just the time to it's just the time to write. It's true. I'm in research for my

prochin. But, you know, can you do you and You can continue what you'd say about, I'm excuse. No, no, but I'm finished. No, but I'm finished. The next, in fact, I have two.

One, one, that's written, but one, the one, the way that's developed in research, it's a trait human. But the trait human, by the trait sexual of the women. So, again, a subject is feminine. But this time, really,

contrary to invisible, really on the other side, 180 degree and the other bar,

really, the women are, especially the women, who are, who are part of the

trait human, and I have already to get to get to be many of so,

so I'm there, I'm not even, I can't even say because I'm still in

the time, and I'm think that more challenging than what you 'd You're

Because the problem is that, in making these research, I've discovered all the treat that is made on the mental. I've not to talk about, I'm in situations in a situation of

handicap. I've not not made, I'm not made, I'm not I'm going to I've been

a moment, but I'm at a moment I'm going to say, I'm going to say, but when we

do this we're we're doing all, we're in the country, so it's

sure it's very, it's very very it's a subject difficult, but

it's a present, everywhere. He's at present in in the he's present in the way,

it's not, but for that I think that's right, it's not that it's not quite because it's to be able to

people who there's in because we're having a view one, I've seen a film, and I've

never remit this film that, the word of the movie, Taborois, it's a story real, the guy,

he has saved all the people, he has been but this film that he has been not been past

because it's the truth, it's the the United the trite of the children that

have been made. But, uh, yeah, I'm also there's a way of

way to make a way of course to make sure, you know, I'm not to talk about a subject, and not

invisible. When I'm when I'm talking about the sex and the people in situations of handicap,

we're they see, the scenes of sexuality. It's not, like, okay, there's a end of the

end, you know, the trade of the time, it's perhaps, it's so, so, so,

so, so, so, I'm like the difficulty to me to be, yeah. So, we're like

my angle for the moment again, it's more the trait of sexual, to see, to see,

how I'm going to that. How do you these women like, because you see,

they're in person? Often, in fact, for invisible, that there, it's a earie also,

and it's also I do, I do, I do, I've done to tell association. Well,

I'm talking the association. Hello, I'm present, tat-a-tita-tata. Is there some people who would be able to

to be able to talk about, it's a but it's like the job of terrain, you it's not just on the internet,

it's sure that I mean, I'm sure that's I'm at a point of sometimes I'm sometimes for the

people, so you're going to get to the person. And there there are some there's there's

also try with with the researchists, now, now that I'm made a long-metrage like that,

I'm probably with more of person for the research, but I agree that when I go by me even, you know, you know, you know, you're talking about your proposal, you know,

your view, you know, you know, you're doing to do that at your place, is, is it your, is your first long-metrage that you've done to want to

to try to this idea that that made to be, or it's already a plan that you have? Good question. I think that

yes, yes, it's this first long-metrage. In fact, I was, I think, I was in an event

of TDS, of Traveillance of the sex and it's sure that in my research of work on my

research of work to work with the exploitation I've heard of plenty of things, I mean, there's plenty

of subjects, there, there, there's a, but I think that, yeah, it's a

part of, yeah, I've got, I, I had not, I've been decided before,

yeah. In fact, there will also, I've had to liate And it's also at the vulture of

of vulture of vulture of vows of the women also there's a market. It's really a market that's a market that's it. It's a lot of

it's like a market illegal to vent, there's also a market of sperm there. Just the sperm is a little

more easy to be procured because the person just to crossy and the mows of the ovule of

the same, you have to get the things chemique for produce more of for then medically

and they retire it's a it's a it's a more complex and it's much more there's more

there's there's more there's so often the women we're doing all the people, I mean,

in health the women are more, there's more of research that's been there's been there too

also so it's again so it's again that's in your in your

in the the next long-metrage It would be in front of the segment is my segment preferre and there's his company and we've asked on your consentment

and she said, yes. We've consented to consentment. Yes, you have consented, well, I'm really content. So, our segment

in the front, is that question, verity or action, okay? Verity, if you choose verity, you'll geter

a lubrician and if you choose action and that you do the action, you will be going to gain a vibrator.

So, what's what you you? Well, I'm, I'm going to say, I want to say, I want the vibrator. She said, I love. I love it. I love it. But at the same time, you have a question, I'm going to ask you. I'll ask you. Okay. Just because it's a good question. Okay, it's a okay, attention. There are two things in the same time that will be. I'll ask you. I'll ask you the question, and you will you. Okay. Okay. Okay. One, two, go. Okay. It's Okay, it's me who turn.

Okay, one, two, three, go. What's it? Ah, it's what? It's a foet. No, but it's in a sense. It's a foeat! You don't know, see what the shock? Yes, it's not the shock.

Because the baby will not on the plateau, and we don't want to do you. While you're going to do you fwet, I'd like, I'd like, you'd say, it's what the first scene, non-pornographic that you have turned on? Ah! I can't do foet there?

The scene non-pornographic that's a sign non-pornographic who turned on. No pornographic. Excuse me. But it's that? You know, I mean that. Oh, my God,

me too, I mean that's a little or a little or a little? No. No. Oh, you're not

She's just on his arms. I'm not to say, hey, we're full on. I hope. I hope

I hope I'm an relationship. Yes. No, but the arms. The

arms, it can be erotic. Yeah, she can be so far foote. No, no, but it's

not, no, she'll be Okay, repose me to question. The scene non-erotic that turned on.

The first scene non-erotic that turned on in the table. It's normally hard as question. Non-erotic

non-erotic that's turn on. Non-pornographic. No pornographic in a film? Yeah. That's for that I was going to

pose pastiri-al-zatrice. Check, I want to give the Simba in the Roy-Lion who he march on the thing, and he

turns to the crinier and he'd turn to be a greener and he doesn't do you can't relate. I relate. I relate.

Okay. So, so something in style that. Okay. Elvis Graton who turned the girl on his penis in helicopter. Ah! Oh, well, it's a little erotic, that. Yeah, but it's not pornographic.

I think, I like that, when... Okay, it's all right. It's all right. We're going to ask. We're saying when they're saying

between women. We're going to it's so much film and it's It's so much more more than the realisators

men, sorry, the realisators women, you're good also, I'm not against you.

But you're not. But we're that when you realize, these films, and that they're

the relations between women, it's, it's maybe, maybe maybe I'm

maybe, because we don't know, that they want, the good affairs, the good and the good

just, again a point of view, the page, that, a little classic, there, it, the sensuality,

the build-up. Yeah. I like a... I like that. It's a good response. But,

I'm not a minute. You're not I'm going to give you. Because you're answering a question also.

So you're all the lubricia and Ross, and you're going to have that you're seeing, and you're going to

get to something of external. All right. It's the voyager which is a vibrator Pulsion

air, which is a so like pulsion air on on your chitoris is incredible it's

can't it's can't it's the more of the I'm not.

But I'm sorry. But I wanted to but I'd say but I'd but I'd say well, I'm sorry well,

yeah, well, thank you and my and my lubricifian thank you Bravo. Thank you to

thank you to you. We're all. We're just this is more a question uh, theory

yeah, yeah, uh, is that when you when you do you do you're like, when you're like,

all repose on you, we don't not, but yeah, and on the a lot of the but on it's the

it's kind of to be the question, I'm gonna be the cost, you know, it's like that yeah,

it's so, it's gonna it's a pretty, it's a pretty, is it's a time that you're

in a row that, that's, finally, the people that's that's that that's

that's that's that, they serve to me to say, no, you can't

not to do that. And I'm, I I'm going to really do that. They're saying, well, he says, but it's too hard. So, like, I'm going to find a solution for it for the same. I'm going to not share. Okay, so you check me.

You're playing a lot with the... There's a lot. There's a lot. Not that it was not. But if we had made that, someone who had tried the manner

to do it, tat, tat, tat, tat, you know, all the years that's me who they've had been, I've got I just like to wear a lot of chaper for so

to save the money. And you know, there's a scene that's also filmed by example, on the

most big on the we're not not to say the key, but it's not quite pretty,

you know, I, you know, I'd say, well, it would we'd that we'd

be able to be able to play on the plateau of tournage that because it's a very

great plateau of tournage. And I said, no, no, we're

turn it. Yeah, but Yuna, you have to find out before I I've seen tried to get all the plans

A, all the manner of to have to see to find B. I do you could be

to search B if you want. It's, it's, it has been to go to look,

there, you know, that's you loo the plateau? Foh, that I don't,

I'd not, I'd not, that's all of all people to ask,

but how it's not, if you're joke. And is the sous

after how it can't it can be able to get a years, it's to get

to get that or in fact we're not really a money with that's you know, we

don't we're in Quebec. You're in Quebec. You're in you're working

for seven on something. I'm I'm to Quebec I'm not I'm,

you know, the what's what's what's can't what's a comedian

a very, very, very, very, very connew, who is already known by all the world, who has a role principal. It's a realtor, realistice, who is already very, very, connew and all that. I mean, I'm not

still very, very, very conned, but I mean, I'm, I'm, I'm, my way, and then, and all that, I'm content, but I'm not, and, in plus, we have a subject

that has, that nudity, who has, who treat the community super stigmatized, and that has a point to view, hyper-reventicator, it doesn't have a

to have a subject grand public. Even if, at the public he's had very well used, and there's been there's a lot,

and there's been really like that. But, don't know, I've got cached the casas for me facilitation the thing.

But it's not for that's not for that because if while seven years, because if, while you live, it's where

your money? I'm, I can't, how you do, how you do, you have no question. I'm not,

but I'm not I'm also realizatrice. I do a pub. I do videoclip. Okay. You're a... You're a... You're a...

...you're a... I continue to work as a scenarist and realizatrice also. It's just... A long-metrage, it's long. But I do other projects, also, like...

Okay. Access. So, so... You're not just... I don't... I... I'm... ...trived...

...that... ...the... ...it's... ...it... ...it... ...it... ...the... ...the... ...the-the-the-the-the-re... The next film, we'll apply to, we'll apply to some

because now I'm more than I'm more than, because there's a lot, because there will be a budget supplementary. It's not, it's not, it's not, there's there, there, there's not. It's all that, it's going to be for the next project. So, I hope that it will go to the more and more, and that will not be

to take a film. Have you read these critics a little? Have you seen, there's articles that are set up to the film, and how you receive the reception? Well, the reception is kind of

good. Yeah. Yeah. So, you know, I mean, there are some sort of

the press, the Devoire, the So, oh, my God, my baby. Oh, my chance,

I'm sorry. You know, you know, that's on his feet. Oh, oh, it's bono.

But, but to end up to know, he's like, he had ony to participate,

yeah, Oh, my daughter. Because he's gross, yeah. Yeah, yeah. You could have to 37 seven, that's it?

Go. Today. It would be the first. We could live a good moment, all together. Yeah, on the boat.

I'd like, I'm a good place. I'm, I'm sorry. I'm, I'm sorry. We're just fun. Look, it would be super cinematographic that would match up with the film.

It's what the question? It's a... Yeah, the reception. Yeah, the reception is good. The reception is good. I mean, everything is not perfect, but the critics,

it's a rest of the critics. Generally, generally, it's a very good return. I'm content. I think it's I thought. I think it's perhaps

more controversial than that. But it's content. The Quebec has been many of the default, but there's It's kind of an accue there's a

an an overture But I've found that in a great great an open up of the

spirit, maybe more than other other end of the place, so there's there are

there's there's there's already, but in a future, yeah, and really, and really,

plus an LGBTQ also more than other than there's a because it has tried also

of that the film yeah, yeah, you're really really hot to have to have to

get the the way, the fun, it's, it's, it's passionate. I'm super hard to see it.

I'm very hot to see what you will be sure we're doing the description. Is it on the social? Yes, we

can see the film invisible, and also my page, my different pages also. All right, see the page

invisible because it's a way, it will help for that can be able to make a little for the

project, Crave. Crave! Crave! Community. Crave! Crave! That's it's bizarre,

we're going to you're arranged this. It's Radis big chummy with others. Well, I don't tear any of fiscals,

but I'm sure. Is it an little 15 minute to pass to more with us on the

on the people, who are in recourse of service of the what's the other word?

The assistant for the assistance. Yes, the assistance sexual. Is it the

voeyerism, the people who are people who will be able to see your film of a point

of view more voyeurist there are you have you have to have you have to have you

I'm I'm not we're doing on the panos on the panos on the

patria uh thank you don't thank you thank you all you thank you

thank you very much thank you to have been very good