"Zucchini" is an intriguing nickname for a 9-year-old boy – although his unique story is surprisingly universal: After his mother’s sudden death, Zucchini is befriended by a kind police officer, Raymond, who accompanies him to his new foster home, filled with other orphans his age. Zucchini struggles at first to find his place in this strange, at times hostile, environment. Yet with Raymond’s help and his newfound friends, Zucchini eventually learns to trust, find true love and, at last, a new family of his own.
I wanted to adapt Gilles Paris’ book because I wanted to make a film about children that addresses ill-treatment of children and remedies for abuse in today’s world; an entertaining film that makes you laugh and cry, but especially a firmly committed film that happens in the here and now and tells you about the strength of resilience amongst a group of friends, advocating empathy, comradery, sharing and tolerance. In contemporary cinema, orphanages are classically depicted as places of abuse, and the outside world as that of freedom (THE 400 BLOWS, THE CHORUS). In MY LIFE AS A ZUCCHINI, the pattern has been reversed: abuse is suffered in the outside world and the orphanage is a place fostering appeasement and reconstruction. This is what makes this narrative at once classic and modern. After some time immersed in a foster care centre, I realised the importance of treating the theme of adoption with great care, because it is at the heart of the relationship that these children, lacking in affection, maintain with the adult world. I presented adoption in two of its modern manifestations: the foster family and custody by a family member. Depending upon the child’s age and the motivation of the adults, adoption in this instance represents either the risk of returning to the destructive cycle of abuse or as the possibility of reconciling themselves with the world. It also seemed particularly important to enhance the image of the blended family in our society, where today the basic structure of the family is present in multiple forms.
Biography
Before directing his first feature film, MY LIFE AS A ZUCCHINI, Claude Barras directed several short films including THE GENIE IN A RAVIOLI CAN, which received numerous awards in film festivals around the world. Claude Barras’ unique connection with childhood transcends time and age differences; he has the rare gift of being able to make you laugh and cry at the same time. His stories are filled with realism and fantasy, humour and poetry. He was the impetus for adapting Gilles Paris’ “Autobiography of a Courgette” into a stop-motion animation film.
Filmography: 2012 CHAMBRE 69, short 2010 COURGETTE, short 2008 AU PAYS DES TETES, short (co-directed with Cédric Louis) 2007 SAINTE BARBE, short (co-directed with Cédric Louis) 2006 THE GENIE IN A RAVIOLI CAN, short 2005 ICE FLOE, short (co-directed with Cédric Louis) 2002 STIGMATES, short 1999 CASTING QUEEN, short 1998 MÉLANIE, short 1997 FANTASMAGORIES, short
In order for our website to function optimally, we use cookies for some of our applications. This includes i.a. the embedded social media, but also a tracking tool that provides us with information about the ergonomics of our website and user behavior. If you click on "Accept all cookies", you agree to the use of technically necessary cookies and those to optimize our website. See "Cookie Settings" for more information.
Control settings
Please select your preferences. You can change these at any time.
In order for our website to function optimally, we use cookies for some of our applications. These cannot be deactivated, otherwise you will not be able to use all applications.
In order to make our website as user-friendly as possible, we have i.a. social media embedded on our website. This allows you to share content with your loved ones on the appropriate network with just a few clicks. We also use anonymous tracking technology, which gives us information about e.g. the user behavior, but also the effectiveness and ergonomics of our website. For this purpose, we also use services that may be based outside the European Union (especially in the USA), where the level of data protection may be lower than in Germany.