The César and Cannes award-winning actress, musician, and filmmaker reflects on her journey from shy performer to creative force in cinema.

Few artists have bridged the worlds of European cinema and global entertainment with the distinctive grace of Charlotte Gainsbourg. Daughter of iconic French singer-songwriter Serge Gainsbourg and British actress Jane Birkin, Charlotte has forged her own remarkable path. From her César Award-winning breakthrough in “L’Effrontée” to her fearless collaborations with Lars von Trier, and more recently, her venture into comedic territory with “The New Look” series, Gainsbourg has remained refreshingly authentic throughout her evolution. She’s also established herself as a musician and documentary filmmaker, directing an intimate portrait of her mother in “Jane by Charlotte.” In this Women in Motion interview at the 78th Cannes Film Festival, Gainsbourg reflects on her multifaceted career, the challenges of public life, and embracing new creative risks

Q: You have a long history with Cannes. What was your first experience like here?

A: In my mind, I have these visions of flash pictures and those black tie lights in that era. But then I had difficulties with that. It was too exposed—I was young. My first Best Actress prize was nice because I was so glad that I’d done that film and to present it here. I don’t know, it was very, very special. And then to get that prize—ever since I have that beautiful memory.

Q: Do you remember when you found out you’d won?

A: I was back in Paris. I got a phone call and they just said, “Come back. I can’t say more, but come back.” And then I saw that Lars [von Trier] was there, and so I sort of understood. That’s because it is a little bit secret. They just say that the film has won something.

Q: That led to a beautiful collaboration with Lars von Trier, but also eventually led you behind the camera. I understand he gave you the push to direct?

A: Yes, because I asked him to film my first music video for a very special album—what was my last album. And he said, “No, I don’t have the time, but I’ll tell you exactly what to do. Just follow my guide.” And I did. I followed it—it was like an exercise. I followed exactly what he told me to do, and then I was free. And it was fun. And then I did the documentary on my mother.

Q: What was it like to bring that documentary here to Cannes?

A: I was so surprised because it’s a documentary. I had no idea that it could find a place here. And this film about my mother, “Jane by Charlotte,” it scared me all through. When she died, I was scared, even being superstitious. Once I knew that we were coming, then I was scared, but she was so sick and she flew in a helicopter to get here last minute. She was as surprised as I was. But we were sharing this very special moment.

Q: The documentary seemed like a challenging process. How did that begin?

A: I started with her hating it. Yes, and she asked me to stop, and I stopped for two years. Then we started again, and then it was a lovely adventure, but it took a few steps. It’s challenging, but also very important and beautiful to have that experience—being with someone who you know as one thing, your mother, and you get a chance to really know her as a person when you’re making a film.

Q: How did your mother feel about being filmed?

A: She would still be a professional, you know, and she felt strange. She was always saying she was being used—that maybe I was going to expose her. I don’t know, it was just to get inside her. It was really being close to her for once.

Q: Do you still want to direct more projects?

A: It’s very intimidating, very challenging because this one was so strong. I don’t think I’m a director. I think I can have a vision, and I have the taste, yes, but maybe not for telling a story. It has to be found in a weird way.

Q: Let’s talk about “The New Look.” What interested you about working with Amy Sherman-Palladino and Daniel Palladino on this series?

A: I had enough information to say yes. But it’s weird to say yes when half the project, you don’t know what’s going to happen. I met them and I loved what they said about the series. I knew that they would put a lot of attention in the aesthetics. I knew that they were very keen on showing very special aspects of dumb snobbery. And then my character—I loved her. She was my secret. She’s part of me, of course, but there’s something amusing about her.

Q: This was your first time doing not just comedy, but comedy in English, while also speaking French. How did you find the rhythms of this show?

A: Switching from English to French is easy for me. It’s the first time that I can do it on film. But I found the rhythm really different—the comedy rhythm very different. First of all, it’s a translation made the best possible way, but it’s still a translation. I think the writing is mainly in English. But then I had my fellow actors—I started with Juliette Binoche speaking French, and then we switched to English for no reason but the situation. It felt right.

Q: How was working with Amy’s fast-paced dialogue?

A: “Pace” is the word that I would hear the most, and she was right. I understand that comedy has a rhythm, and her writing has rhythm. So it took me a little while to adapt because I’m very slow—it’s my way of understanding. I knew slowly, and suddenly even with the character, it gave me a point and I was there. I was a bit comical, and that added something. I had fun with that pace, but it was very challenging.

Q: Your character in “The New Look” is falling apart while pretending to hold it all together. Tell me about how you wanted to physically represent that.

A: It was easy because in the script, I had that accessory of my shoes. As soon as I was taking my shoes off, I was myself. Putting my shoes back on with high heels—the red shoes, thoughts of “The Red Shoes”—it had a lot of meaning. It was exactly her representation. The head of the ballet being back to barefoot in real life.

Q: What interested you about exploring her depression in a comedy?

A: Well, the problem is that she’s really quite depressed. And depressed people are not very funny! But what I felt was fun was that I’m completely opposite. People think I’m fragile and vulnerable, and in fact, I’m very strong. She’s very strong in appearance, and in fact, she’s completely vulnerable.

Q: You’ve grown up very much in the public sphere, and everybody thinks they know who you are. At what point did you find your own self-confidence as an artist?

A: To be perfectly honest, very late. I was always my parents’ daughter. I think that’s why my mother pushed me a little because my father wanted to do that song and duet with me. She thought that it would be a good idea if I had something else on the side on my own, so I did my first film at the same time.

Being recognized gave me a bit of strength, but I was so shy—that was my personality, I couldn’t change it. I loved being in front of the camera with actors, but at the same time, all the publicity around was for me not part of the deal. I didn’t understand why I had to answer questions, why I had to do pictures.

I was the opposite of my father. My father was saying that he loved all of this. I didn’t understand what was the big deal. It’s only very late that I became more talkative. I was maybe having fun with journalists also in the beginning because I loved to see how embarrassed they were—I would be so silent.

Q: How have you navigated finding the right parts throughout your career?

A: The only projects I fought for were going to meet Lars von Trier, thinking that he hated me. And “21 Grams”—I really wanted it. I was so pregnant, I went to Los Angeles. The part was about a woman who couldn’t get pregnant, and there I was. It made me so proud to have those challenges. When you get everything just because someone wants you, it doesn’t make you believe that you can do it. When you fight for something, then you feel that you own it.

Q: What are you fighting for now?

A: I’m doing something very challenging. I’m playing a woman who fought for women’s rights, and it’s incredibly challenging because I’ve grown to love her so much, and she was so brilliant.

Q: Tell me about the importance of portraying this woman and her work.

A: I didn’t know it was Gisèle Halimi, who did the law for abortion in France. I had no idea that it started with Djamila Boupacha, a 16-year-old Algerian girl who was raped and found guilty. I read everything I could. I knew what she did before in Algeria, defending soldiers. It’s very impressive, overwhelming.

I was very shy about being able to portray such huge work. I’m not a lawyer, I haven’t done those studies. I felt quite incapable in those first days of the shoot. I thought I would never be able to succeed.

Q: You’ve mentioned that you doubt yourself a lot. What is it about acting that you love so much despite those doubts?

A: I doubt a lot about myself. I don’t want to see my films. I just have so much pleasure acting, forgetting about myself, diving into a character, being with other actors. Trying to see the results is not something I need. I don’t need to see it.

Q: Is it because of being shy that you love putting on another character?

A: I think it’s because I’m able to challenge myself. I have a quiet life, and I can play loud personalities and comedies. With Lars, it took me further, pushing my limits, and that’s what I love. I love the provocation—it reminds me of my father’s era—but I wouldn’t be able to do that myself.

Q: What are you the most proud of about the work you’ve put out there as an actor, musician, and artist in general?

A: It’s not me, it’s really thanks to the director. I love “Melancholia,” but it’s not really about me. What I’m proud of—and it’s not modesty either, I’m not modest at all—but I just see all the flaws, which is normal. You see everything you could have done better.

Q: What was it like working on a big Hollywood TV production in Paris?

A: It was really wonderful. To be able to be with the same people for nine months—you don’t get this in movies because you see people for two months, you say, “Oh, we’ll have dinner,” but you never do. With all these people, it was a real long story. Yes, it was my hometown, but I’m ashamed that I don’t know Paris that much. They made me see it with their eyes, which is great.

Q: You’ve worked with Wes Anderson recently as well?

A: Yes, it was so much fun, but it was only two days for me. You’re dropped into a world that made no sense because I didn’t know what I was supposed to do. The whole thing was so funny.

Q: It seems like you’re very much in your comedy era now.

A: No, but you know what? I did “The Young Girl and the Sea” with my mom. I was chosen for it while she was sick, and then I lost her, and then we started the work, so it was very heavy. My life was really heavy. To be able to do comedy after that, it’s a real chance. It’s healing in a way.

This interview took place at the Women in Motion event celebrating its 10th anniversary at the 78th Cannes Film Festival.