An ode to humanity – Marc Forster’s film White Bird

In a small village in Alsace, young Sara (Ariella Glaser) grows up loved and protected by her parents. When the Nazis invade France, her world starts to shatter. The resentment against Jewish people grows ever stronger and Sara’s family can feel it. In 1942, Sara’s carefree life ends. She and the other Jewish pupils are to be deported during class. She manages to escape, but doesn’t know where to go. Then she gets help from an unexpected source. Her classmate Julien (Orlando Schwerdt), who is physically disabled from polio disease and someone she’d barely noticed until now, finds Sara and hides her in a barn next to his family home. The risks involved in this courageous and deeply altruistic act are gradually revealed to everyone involved.

Released after Wonder, White Bird is the second film adaptation of a novel by Raquel J. Palacio. Bryce Gheisar features in both. In White Bird, he plays young Julian. Unlike in Wonder where he bullied a classmate, he now finds himself having a hard time at his new school. When his grandmother (Helen Mirren) gets wind of this, she tells him her story. The story of Sara in Alsace during the Second World War.

It’s a rainy Monday afternoon in May. I’m sat in the hotel bar at «La Réserve Eden au Lac» where you have the best view of Lake Zurich, and yet I can’t keep my eyes away from my counterpart: Marc Forster. The man who has entertained me for many hours with his films. To mark the release of White Bird in Swiss cinemas, he’s in his home town Zurich for a preview. I’m a little nervous because, although I’ve lead many interviews before, I’ve never had the opportunity to speak to such a well-known person. But, Marc Forster’s friendly and interested nature quickly puts me at ease. His Swiss German is still there eventhough he’s been living in the USA many years and uses quite a few English expressions.

Marc, you’ve done it, your new movie White Bird bought tears to my eyes. How do you feel when you hear this kind of feedback?
Marc Forster: Of course I’m glad that the movie touched you. I felt the same way when I read the script. It almost made me cry. That’s why I really wanted to make White Bird. I really hope that I can move people with it, especially young people. With a love story, it’s always a balancing act to avoid falling into kitschy sentimentality. At the same time, the film also has a fairy-tale quality, which contrasts with the cruelty of the Second World War and the Holocaust.

What exactly was it about the story that moved you?
It was influenced by the situation I was in when I read the script. It was during the coronavirus pandemic, about six weeks after the lockdown. Most of White Bird takes place in a barn, in a very confined space. Reading something like that when I couldn’t get out myself and was virtually trapped within my own four walls touched me even more. The story also deals with bullying and anti-Semitism, topics that are very important to me personally. I get the impression these problems are getting worse and worse, also due to external influences such as social media. I’d like to help break the cycle of violence. And then I thought to myself, if I tell a story with these themes through a love story and it inspires people to talk about it and think about it, then I’ve done my job.

"Vive l'Humanité!" («Long live humanity!»), is a common theme throughout the film. And that’s exactly what White Bird is for me, a timeless ode to humanity, and at the same time a frighteningly topical one.
When we were filming, the subject matter of the story wasn’t quite so topical, but now we’re definitely caught up in world events. (Thinking) We’re living in a very difficult time. Nevertheless, I’m an optimist, not to say naive. I really hope the current wars won’t get any worse and that there will be diplomatic solutions. We humans need to talk to each other, because at the end of the day, we all want the same thing – to do what makes us happy and live a peaceful life with our families and the people we love. I believe such coexistence is possible. We don’t all have to love each other equally, but we do have to respect each other for who we are, what we do and how we choose to live our lives.

The cast makes or breaks a movie. White Bird is carried by young actors and actresses in a grandiose manner. How difficult was it to find the right people for the roles?
It was during the pandemic and for the first time ever I cast online. Ariella Glaser and Orlando Schwerdt – the two main actors – read and spoke to each other via Zoom. I was quite worried we might have to do a recast if the chemistry between them wasn’t right during the shoot. It was a bit stressful at first, but then it worked really well. I was particularly impressed by Orlando, who came well prepared every morning and was completely in character from start to finish. He never had a phone with him on set and was able to focus completely. At just 15 years old too – it was remarkable!

Helen Mirren and Gillian Anderson are once again two absolute top stars, like so many others in your films. How do you feel about working with such stars in the film business? Do you often have to deal with special requests or prima donna behaviour?
As far as that goes, I’ve actually always been pretty lucky. Most of the actors and actresses made it easy for me, even with White Bird. Helen and Gillian were incredibly professional and very well prepared. I discussed their roles with them and what I wanted to do with them and they did exactly that. It was brilliant. Basically, you know in advance which actors and actresses are more difficult to work with and which are less so. Word gets around in the industry.

In order to endure the cruel reality, the two main characters use their imagination as an escape. Do you sometimes have moments like that?
Absolutely. I grew up in Davos and always went to play in the forest to escape into my fantasy world. I always felt more comfortable and safer there than in the real world. It was always difficult for me to come to terms with reality. Today, filmmaking is more or less my fantasy or dream world. And I really like it.

A recurring element in the film is the white bird where the film gets its title from, which for me symbolises hope. Are you a «White Bird» too, Marc?
(Laughs) I can’t really say. I definitely always try to do my best for the people I love and know.

You’ve made very different films from various genres. Was that intentional or did it just happen that way?
That was actually always my intention. I like all genres and I’ve always wanted to make movies that I like and that inspire me. I love the work of filmmakers such as Billy Wilder or Howard Hughes because they also worked in different genres. There are fewer and fewer people like them. Nowadays, as a director, you almost have to be a brand that always does the same thing, as was the case with Alfred Hitchcock. But I’m always on the lookout for a new challenge and the thrill of possible failure. That’s how I have to approach new ideas and take a leap of faith.

I’m a big fan of your movie Stay from 2005, a psychological thriller. Do you think you’ll make another film like that?
I’m glad you enjoyed Stay. You should definitely take a look at All I See Is You from 2017. It goes in a similar direction, at least in terms of structure. I actually really like abstract films like this and I think they suit me. The only problem is that both Stay and All I See Is You weren’t successful (laughing). That’s why I’d struggle to raise the necessary money for another such film of mine.

What can we look forward to next from you? What are you working on right now?
Well, it looks like I’ll be able to turn Neil Gaiman’s book The Graveyard Book into a movie. I’m really looking forward to it.

White Bird has been showing in cinemas since 8 May 2024. Runtime: 120 minutes. Age rating: 12.