Currently taking the festival circuit by storm after premiering at Venice in September then moving swiftly onto TIFF, Marion, co-written and directed by Finn Constantine and Joe Weiland (who we last featured on DN with his BAFTA-nominated short Gorka) is an astonishing example of blurring the lines between traditional forms of documentary and narrative film as it takes us into the sacred, male-dominated world of La Course Landaise. Caroline Noguès-Larbère, France’s only female écarteur, was immediately evident to the pair as the only choice to play the lead role in this hybrid telling of her story, which she does with the execution of a seasoned actor, wholly absorbing us in every second of her near ritualistic preparation amongst the jeering and habitual misogyny she has always battled. In order to authentically capture the true milieu of this high-risk sport, Weiland and Constantine strategically deployed multiple cameras around a teeming live arena not only focussing on the large-scale drama but also the intricate dance Noguès-Larbère has to perform to an audience, amongst her peers and for herself. Marion is a gripping depiction of a sport comprising acrobatics, bravery and talent in which Noguès-Larbère has fought for her place and Weiland and Constantine bring to the screen with extreme beauty and resonance. As they continue showcasing the film to festival audiences the BAFTA and Oscar eligible duo spoke to us about garnering the support of veteran industry heavyweights Cate Blanchett and Sienna Miller, not intruding or imposing themselves on a very protected world and a delicate editing process leaving room for the real life drama alongside the film’s integral emotional beats.
How did you even find out about Caroline Noguès-Larbère and could you tell us about the evolution of wanting to write about her into filming this incredible woman as her own protagonist?
Joe Weiland: We stumbled upon Caroline’s story through an article we read about her. It really struck a chord with us. One line in particular stood out: “I don’t face the bulls, I face the men.” That idea sparked our interest because it spoke to more than just her sport, but the broader challenges she faces as a woman in a male-dominated world. From there, it was about taking that concept and fleshing it out into a full narrative. The process was bold – two English filmmakers navigating a very French and culturally specific sport – but Caroline’s story was so captivating. We knew we had to meet her. We travelled to France with a translated script and introduced ourselves. It was quite surreal when she read the script and told us we had captured her entire experience. It became clear then that Caroline herself had to play the lead.
The natural choice was to film the bull-jumping scenes in real time, in a live arena, to capture the tension and unpredictability of the moment.
The amalgamation of deep, luscious narrative with the revealing veracity of documentary blew me away, did they mould together naturally?
Finn Constantine: The fusion of narrative and documentary was really organic for us. Caroline’s story demanded authenticity. She’s not an actress, and her world, especially in the bullring, is so real and visceral. We wanted to keep that rawness intact, so the natural choice was to film the bull-jumping scenes in real time, in a live arena, to capture the tension and unpredictability of the moment. But alongside that documentary-like approach, we had to structure a narrative that gave space to the emotional depth of Caroline’s personal journey – her motherhood, her internal struggles, her femininity. Balancing those two elements – authenticity and a crafted narrative – was something that just naturally evolved as we filmed.
You have worked with Sienna Miller before and then Cate Blanchett came on board – how does having the support, voice, and authority of those two heavy hitters help?
JW: Having Sienna and Cate involved is incredible. Their guidance has been invaluable. The support from two inspiring women like them brings a certain level of credibility and visibility that we, as early-career filmmakers, couldn’t only dream about. But beyond that, they’ve both been actively involved creatively – offering feedback on cuts, sharing their insights, and helping us shape the film.
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Everything is shot in a very local somewhat closed region, how was the reception? Were there any obstacles to filming in such a protective world?
FC: Shooting in South-West France was an unbelievable experience. The local community was really supportive, but the sport is sacred there, so we had to approach everything with a lot of respect. We shot the backstage sequences in Bayonne, but for the real live event, we shot in Soustons Arena. Filming a bull-jumping event live, with no room for mistakes, was logistically challenging. We had to navigate language barriers and make sure that we weren’t intruding on a cultural tradition. There were definitely obstacles – weather, timing, and coordinating with the live crowd – but the locals understood our passion for telling Caroline’s story and were welcoming.
We treated it like a live broadcast but with a cinematic lens, literally and figuratively.
The actual bull-jumping scene is in real time. I read you had six cameras in the arena. What factors help you determine where to position them and the choice of cameras and lenses? And how frantic was it trying to capture everything on the day?
JW: It was thrilling, to be honest. We had six cameras, all positioned strategically around the arena to capture every angle all on different lenses. Some were wide for context, others tight on Caroline to capture her every movement. We treated it like a live broadcast but with a cinematic lens, literally and figuratively. The way Darius Khondji shot Zidane was a major reference for us. He made a football match feel like cinema and so we really tried to mine for that here. We used a range of lenses depending on the angle, some long zooms to keep a safe distance from the bulls and wide primes for those dramatic shots of the arena. The planning was meticulous, but once the event started, it was pure adrenaline. The bulls weren’t waiting for us to get the perfect shot, so we had to trust our preparation and capture the raw energy of the moment.
Could you tell us about editing all of those angles, shots, and beats into the heart of the drama in which we live through her in that ring?
FC: Editing was a delicate process. We had to make sure the pace captured the heart-pounding intensity of bull-jumping while also allowing space for the emotional beats to land. We used the six angles to build a rhythm that mirrored the tension Caroline feels — fast cuts during the action, then pausing for slower, more contemplative moments. It became a balance of adrenaline and reflection, trying to keep the viewer in the ring with her emotionally as well as physically.
Who provides the god-like narration and why did you want that interwoven into the drama of the story?
JW: It’s Caroline’s voice. The narration focuses on protection. You’re not quite sure who the ‘nous / us’ is at the start, but that becomes apparent at the end.
When she puts the bolero on, we feel her strength and grace. It’s like armour but also a celebration of femininity.
Finn, you have quite the background in fashion and brands and I was so drawn to the exquisite clothes they wear and the ceremonial dressing. How did you go about capturing the sheer beauty of those moments?
FC: Fashion is a form of communication and storytelling, and we wanted to use the ceremonial dressing as a way to explore Caroline’s identity. We worked with costume designer Verity May Lane to style the characters. She’s fantastic. We spoke about finding tracksuits that feel every day and grounded, but then when she puts the bolero on, we feel her strength and grace. It’s like armour but also a celebration of femininity. We took inspiration from the historical elements of bull-jumping attire, but we also wanted to bring a sense of modernity to it. The dressing room scenes are intimate; we wanted to capture the ritual of preparing for battle in a very personal, almost sacred way.
I am so impressed by the immensely proud threads of feminism, women’s strength and resilience, told with such authority and accuracy. How did you keep yourselves grounded with these aspects of the film?
JW: It all came from Caroline. Her strength and resilience were our north star. It was about telling her story with honesty, respect, and a deep commitment to her journey. That’s where you find the authenticity.
Did you have any idea Marion would blow up as it has and what does it mean you can focus your filmmaking sights on next?
FC: Honestly, no, we didn’t expect this level of attention. We just wanted to tell a powerful story. But the reception has been overwhelming in the best possible way. We’re looking at expanding it into a feature-length film. There’s so much more to explore about Caroline’s world, and we’re excited to dive deeper into it.
