“Jumbo” is the beautifully weird love story from the mind of first time feature director, writer, and new CAA addition, Zoe Wittock. Initially, the film debuted at this year’s Sundance and was set to premiere in Paris this month. However, with shelter in place procedures in order all over the world, the film premiered on VOD in Belgium and Vitamin Cineville in Holland.
The film follows Jeanne Tentois (“Portrait of a Lady on Fire’s” Noemie Merlant), a shy young woman, and her whirlwind love affair with an amusement park ride. Yes, you heard it right. A woman is in love with a ride at an amusement park. I say this with conviction because this film makes you believe what you see in a literal sense.
The film is based on people with the very real condition of objectophilia, (specifically, the story of Ericka Effiel, who married the Eiffel Tower). Objectophilia, or what some call objectum sexuality, is a condition where humans have a sexual attraction to inanimate objects. In the film, Jeanne works in the cleaning crew at a local amusement park to make money. Her mother, Margarette (Emmanuelle Bercot), is a bit of a rolling stone and wants Jeanne to find a boyfriend, but she has other desires.
We spoke to director Wittock about why Jumbo was the story she wanted and needed to tell.
Where did the inspiration come from to create a story like Jumbo?
I like stories about outcasts, so that was the first element. Then adding the love story angle I knew I didn’t want to take the traditional angle of a girl falling in love with a guy, I wanted something else. I read about the Ericka Eiffel and the women who married the Eiffel tower. Then I started to research a lot more. After I made the decision, I spoke to Ericka, and she was very down to earth and grounded. This conversation struck me for days and after I initially read about it and read about objectophilia, I knew this would be the base of the story.
From your research of objectum sexuality, are objects often gendered? Because while watching the film, I wondered about the constructs of gender…
Well, saying “it” makes the situation seem unreal. Giving the objects a gender makes things feel normal, or alive.
I imagine this condition comes with some heavy societal stigma.
From speaking to Ericka, and from my research, those with objectum sexuality are aware they are viewed as ‘crazy’ and weird, they just have a different preference, and their preference is what is normal for them. They’re not hurting anybody, or dangers to society, they just see the life differently
With that said, when writing this story, how did you decide how Jumbo would communicate with the world, especially with Jeanne?
I had to find the right object first. I wanted something reactive. Then amusement park rides came to mind because it moves, makes sounds, and uses light, and sometimes smoke. Thinking about what ride it would specifically lead me to what’s in the film now. Then I looked at the mechanics of the ride and what it could do, so then I readopted the script a little bit so that it would work in terms of dialogue.
Sexual communication is a different language altogether. How did you create the sexual language between Jumbo and Jeanne, in terms of the way that they sort of communicate sexually?
There were two routes I could take. Performing in a raw environment where Jeanne kisses the object, but lacking surrealism. While that would be more realistic, I didn’t want to emphasize the societal ‘craziness’ of it all. I wanted to show that at least once in the film but didn’t want to make an entire film like that, it’s also uncomfortable to watch.
I wanted the audience to get the feel that Jumbo and Jeanne are making love, so I went the other way and created something more surreal and poetic. I’m from Belgium, we’re very influenced by surrealist movements, you know?
The entire aesthetic of the film feels surrealist in nature. Is that the concept you wanted to build this world within?
The conversation started with the production designer William Abello and DP Thomas Buelens reinforced the look and did a beautiful job. The work of creating the world was creating the amusement park look, and then her home life. Different worlds, but both linked.
Now that all the pieces have come together for the story, how did you find the Jeanne in actress Noemie Merlant?
I saw a lot of actresses, so when Noemie came into the audience, her performance struck me. She had this strength that you can see in “Portrait of a Lady on Fire,” however, Jeanne is fragile. I put that on the back burner and decided to move on with casting. Auditions went on for months after that. There were a couple of girls that were really good, but I could not make a decision. I went back through the list of actresses and decided to call Noemie back. Thankfully, she was still available and really wanted to work on the project because she loved the script.
I gave her some direction to bring more fragility to the role, and she nailed it. Her chemistry with Emmanuelle worked and everything was settled from there.
There’s a scene between Jumbo and Jeanne that’s volatile. Oil drips from Jumbo’s crack and a frantic light show ensues. What did you want the audience to get out of that particular scene?
I prefer people come to their own conclusion, but for me, it’s an attempted breakup. When one partner feels inadequate, or there is strain on a relationship, communication breaks down. I don’t want to give too much away, but think about what happens when everything is going well in your relationship, then suddenly one partner wants to break up with the other. Wouldn’t you react frantically?
There’s an element of queerness in the film with the sense of belonging and community. Would you agree that is a major theme within the film?
I see Jumbo as a coming-of-age story and coming out story. Jeanne is obviously struggling with telling her mother she is in love—and that loving Jumbo is who she is. This film is an allegory for many different types of identities or sexualities or anyone that can relate. Differences of who we are as people is the theme I wanted to explore. People will watch this and hopefully be at least open to learning more about objectophila. You don’t accept it, fine, at least you have a little of an understanding.
To find out more about the film and when it will possibly come to the states, watch this Instagram live recording with Wittock and Merlant from this last weekend.
Photo credit: Caroline Fauvet.
