Swann Arlaud, one of the most sought-after actors in French cinema, is making headlines once again, this time not on the silver screen, but on the theatrical stage. The talented actor, known for his recent role as Vincent Renzi in the award-winning film Anatomie d’une chute, is currently starring in Trahisons, written by his mother, Tatiana Vialle. The play runs from January 29 to March 30, 2025, at the Théâtre de l'Œuvre in Paris.
Arlaud, who has garnered notable acclaim throughout his career, was visibly enthusiastic as he spoke about the influence of his family and his artistic identity. He reflects on how his family's artistic background, including relatives active in the performing arts, ignited his passion for acting. "My mother always told me not to choose this profession, knowing how hard it is to secure one's place," he shared, yet his career is undeniably on the rise.
Aside from his family legacy, Arlaud also attributes his artistic voice to his early explorations of street art and music, particularly rap. "It was through graffiti and Hip-hop where I built my identity," he said, indicating how these genres have shaped not just his style but also his narrative choices as an actor.
Arlaud's recent performance in Anatomie d’une chute has thrust him onto the international stage, showcasing the film's complexity, which explores various viewpoints on truth and the often conflicting narratives surrounding it. "There are various themes tackled in this film: the absence of true truth as multiple perspectives clash, sometimes contradicting one another," he explained. The film has not only received accolades worldwide, but it also conveys broader social themes.
At the prestigious Cannes Film Festival, the film attracted major attention, not only for its artistic achievements but also due to impactful speeches made by its director, Justine Triet. Arlaud expressed his admiration for her courageous discourse against proposed pension reforms, stating, "First, there’s the Palme d’or and then there’s her speech: what class! We were thrilled to be part of it, I was moved to tears watching it on television."
Beyond his acclaim on screen and stage, Arlaud remains deeply committed to social issues, often choosing roles with significant societal commentary. His performance as Pierre, a troubled farmer grappling with economic distress due to the mad cow disease crisis, earned him accolades, including the César for Best Actor. "It’s powerful to hear the emotions from the community, especially those farmers who don’t often visit the cinema," he remarked, emphasizing the role of art as a conduit for expressing hidden pain.
His role in Grâce à Dieu, where he portrayed Emmanuel, a victim of clerical sexual abuse, reflects Arlaud's desire to give voice to marginalized stories. This poignant performance not only highlights systemic issues within the Church but also intertwines with his personal advocacy for the rights of abuse survivors. He mentioned the importance of shedding light on these often-ignored narratives, which resonate deeply with his convictions.
Arlaud's political consciousness extends to the themes explored in L’Établi, set against the backdrop of post-May 68 labor struggles, and his portrayal of characters confronting social inequalities demonstrates his dedication to eleving working-class narratives. "From these roles, I aim to confront the audience with social injustices which continue to plague our society," he stated.
Also, within environmental contexts, his portrayal of a passionate landscaper defending urban biodiversity in Tant que le soleil frappe addresses the pressing need for ecological awareness—a cause he ardently supports. The actor reiterates the necessity of rethinking our relationship with nature, especially as urbanization intensifies.
Arlaud is not merely satisfied with artistic expression; he actively uses his platform to support social justice. His symbolic gesture at the 2018 César awards, where he wore a white ribbon supporting victims of domestic and sexual violence, exemplifies this commitment. He offered vocal support for fellow artist Adèle Haenel when she left the awards ceremony, stating, "Of course she was right to leave. After her statements, she couldn't just stay seated applauding." This highlighted his willingness to stand against the industry’s moral dilemmas, often remaining silent.
Currently engaged with Trahisons, Arlaud is fascinated by the play's unique storytelling style where the ending unveils itself at the beginning, offering audiences and actors alike fresh perspectives.” Arlaud mused, "It’s exhilarating to play with time, to reveal truths and lies intertwined. We all have our reasons to deceive, even about the trivial matters.”
His commitment to the narrative's balance between gender perspectives during the performance, especially considering its 1970s origins, reflects Arlaud's continued focus on equality within performances. He acknowledges Pinter’s interrogation of societal roles, noting some of the play's phrases may appear misogynistic but, upon reflection, reveal broader themes pertinent to contemporary discussions.
Arlaud’s narrative vision and commitment provide him with not just cinematic accolades but also the ability to impact lives through art. His nuanced portrayal of contemporary issues serves to inspire and provoke thought, as audiences experience the intertwined layers of truth, love, and social responsibility he brings to both theater and film.
It seems undeniable—Swann Arlaud is much more than just an actor; he is the representation of conscience through artistry, embodying the voices of those often left unspoken.