‘You’re Dead Hélène’ Director Michiel Blanchart and Producer Sam Raimi on Live Action Short Film Oscar Contention

The horror genre is often overlooked and underappreciated in awards spaces. That’s what makes “You’re Dead Hélène” from Michiel Blanchart, which is one of the shortlisted contenders for live action short, an exciting addition to the Oscar conversation.

After dreaming of working in the movies and making shorts with his friends while growing up in France’s countryside, Blanchart decided to go back to his native country to study in one of the best-known cinema schools in Belgium: the Institute of Media Arts. He directed several shorts both in and outside of the school curriculum during his time there, including “L’Annonce,” “Lulu” and “Dynaman,” which went on to play at multiple festivals in Belgium, two of which ended up winning the BeTVaward (at the Brussels Short Film Festival and the FIFF in Namur).

In an exclusive interview with Variety, director Blanchart and producer Sam Raimi, best known for his horror “The Evil Dead” trilogy and the Tobey Maguire-led “Spider-Man” trilogy, sit down to discuss their union for the project. The pair are planning a feature length expansion of the short film. TriStar Pictures acquired the rights to the supernatural romantic comedy “You’re Dead Hélène,” which is based on the award-winning short film written and directed by Blanchart. He will direct the feature film version, which Raimi and Rob Tapert are producing at Ghost House and Michaël Goldberg and Boris Van Gils at Playbox Pictures. Caellum Allan will oversee the project for TriStar Pictures. Romel Adam will oversee for Ghost House.

Where did you get the idea to make your short film?

Michiel Blanchart: Originally, it was supposed to be one story in an anthology about crazy break-ups, [but] I was so in love with this particular story that I forgot about all the others and wanted to spend more time with it.

Sam, what attracted you to this project?

Sam Raimi: Michiel’s manager Jerome brought the film around to a few different producers. Romel Adam at Ghost House showed it to me and I loved it. I saw the great potential as everyone does who sees it, that it could be a great feature film. It’s so entertaining and scary. It’s hard to do scary and funny and Michiel does both beautifully, building suspense and telling a romantic story in 20 minutes. So I saw this great director at work and thought, yes, let’s make a feature film. I was impressed with him on our Zoom meeting and saw that he was intelligent, funny, savvy and mostly super talented from watching the movie.

Michiel, you have worked in various spaces as a writer, director, visual effects artist and editor. Are you attracted to one aspect of filmmaking more than others?

Blanchart: I’m in love with all of it. I always loved the visual effects because it was always part of making movies that I wanted to make and the stories I wanted to tell. When I’m doing a project, I feel I love the next step of the process more than the first one. When I’m writing, I can’t wait to prep and dream about what the movie will look like. Then, when I’m shooting it, I can’t wait to edit the scene we just shot. Each step is even more fun than the last.

The horror genre is one of the most undervalued in film, especially regarding awards recognition. Can you talk about your unique relationship to the horror genre, exhibited by many beloved films over your career?

Raimi: Keep up the good work pointing out artistry and craftsmanship that goes into the genre. I think that’s one of the reasons why I like it so much. I like that it’s underappreciated. You’re probably going to spoil it for me, drawing so much attention to the craftsmanship, but I love it. It’s a place you can work and practice your craft. When you study horror films, you see what it takes to build a suspense sequence… I love the rhythm and construction of those scenes… It flows like a piece of music. It’s an endless playground to play, without having the spotlight that can make you blind.

The film is shortlisted for best live action short for the 94th Oscars. So what would it mean to be nominated in a category and space that so many revered artists and auteurs have started?

Blanchart: It’s surreal. I don’t know how to answer it because it’s been such a crazy year having meetings, having the film find success throughout the world and experiencing it from my little room here in Belgium. I just feel blessed to be here to be speaking with you, with Sam, who is one of my idols and is probably the most influential director in this genre. Making the shortlist for the Oscars is just the cherry on top. I’m so grateful. And if we don’t go any further, it’s okay because I’ve already been on such a wild ride.

Raimi: I think the exciting thing is this film announces a new artist on the scene. A strong voice in storytelling, who’s already mastered the craft in so many way. It’s almost like Spielberg or Fede Alvarez, making his “Panic Attack” short; suddenly, here’s another master storyteller, out of nowhere, and it becomes an announcement for future works to come. The birth of an artist.

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