- Born
- Birth nameMia Hansen-Løve
- Cinema came into Mia Hansen-Løve's life when she was seventeen, as Olivier Assayas made her start as an actress in Late August, Early September (1998). Two years later, he gave her the part of "Aline" in his Les Destinées (2000). Their artistic collaboration was coupled by a union in real life, Mia and Olivier becoming life companions. In 2001, Mia Hansen-Løve began studying at the municipal Conservatory of Dramatic Arts in Paris' 10th district but she dropped our after two years to contribute instead to the famous film magazine "Les Cahiers du Cinéma", where Olivier Assayas also wrote. In 2001, she tried her hand at directing and, as of the first day of shooting, discovered that this WAS what she wanted to do. The result was Après mûre réflexion (2004). Since then, although aged only twenty-eight, she has already made two more films, All Is Forgiven (2007) and Father of My Children (2009), both acclaimed by the critics, both showing consistent thematic and stylistic unity.- IMDb mini biography by: Guy Bellinger
- ParentsLaurence Hansen LøveOle Hansen Løve
- RelativesSven Løve(Sibling)
- Had a master in German philosophy.
- She contributes to the "Cahiers du Cinéma".
- Split with her longtime partner Olivier Assayas in 2016. They have one daughter. Despite numerous mentions in the media referring to them as husband and wife, Hansen-Løve stated in an interview with The Final Cut in 2017 that they had never been married.
- Member of the 'Academy of Motion Picture Arts and Sciences' (AMPAS) since 2016.
- In 2001, she began studying at the municipal Conservatory of Dramatic Arts in Paris' 10th district.
- [press conference for Bergman Island (2021) at the 2021 Cannes Film Festival] I think, above all, it was the desire to make a film on the topic of creation within a couple - inspiration - trying to understand how it works. It has always seemed to me somewhat miraculous to manage to write a screenplay, to make a film, it's an activity which I always thought was very fragile, very vulnerable. And yet I've made films, so I thought it would be interesting for me to understand why, despite this frailty, there was nevertheless a strength which allowed me to continue to write and to make progress. That was the starting point and I think the film really came together when I thought of the island of Fårö as a possible setting for the story.
- [on Ingmar Bergman] I would probably not have liked to have been one of his women, but then I am very happy he made 60 films that I can watch and enjoy.
- In the stories I tell, the maternal figures are more easily turned towards the future, the paternal figures are more fundamentally melancholic. I feel like I have inherited both. This is the inner tension of my films: the temptation to be self-destructively melancholic crossed with a way of embracing life, of embracing fate.
- [on 35mm film] I have always tried to film reality as it is, lucidly, but trying to make it beautiful. In my eyes, the image from film lends itself better to these efforts. Beyond the material side, what I also prefer about 35mm is the movement, the succession of images specific to film perhaps better translates my relationship to time. As a spectator, I can like everything. But as a filmmaker, I need film in order to be transported into fiction. v
- [intimacy coordinators] So for me, intimacy coordinators aren't necessary. If I was forced to have some kind of virtue police on set, I'd rather not film those scenes. I understand why some people might feel reassured, but it's very far from the experience of my own film sets.
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