Jeremy Clapin (‘I Lost My Body’ director) on heartbreaking tale of a severed hand looking for its body [EXCLUSIVE VIDEO INTERVIEW]

Jérémy Clapin understands that the subject matter for his new film, “I Lost My Body,” can be a tough sell for people. He remembers that “we were quite alone while trying to find the funding for the film.” But in our recent webcat (watch the exclusive video above) he seeks to explain further that while the film’s subject is a severed human hand, the movie really is about the missing part which is the rest of the person’s body along with confronting areas such as finding yourself, survival and dealing with fate. It was really when the film screened for the first time at the Cannes Film Festival that he saw his decisions as being validated. “When we went out at Cannes, it was really powerful to us because we took a lot of risks alone to do this film and the risks paid off,” he adds.

“I Lost My Body” is a new animated film which recently premiered on Netflix. It focuses on a severed hand in a Paris laboratory that seeks to be reunited with the body of the person it was originally attached to. As the hand makes the dangerous journey across Paris, we see the heartbreaking life of the hand’s owner, Naoufel, that included losing his parents at a young age and being hardly able to get by. The film first premiered in May at the Cannes Film Festival as a selection in the International Critics’ Week.

The project marks the first feature film from Clapin, who had made several animated shorts prior to this. He wasn’t expecting to make a feature because of all the limits that an artist can encounter while making the project. “What I like about short films is I can do what I want and it’s only about my purpose,” he explains. He became more secure in working on a feature after meeting with producer, Marc Du Pontavice. “My first focus point with him was if we were going to make a feature, we have give space to the auteur even in the industry process.”

Despite his initial apprehension to making a feature, Clapin says that his experience with this was great and that he definitely sees himself making more features down the road. “It’s not so often you have this possibility in animation because of the industry,” he tells us. But he also explains that for future projects, he needs that same level of freedom and support that he received in this one. “I need this auteur approach and I need the industry to trust that I’m the director they want to work with.”

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