A dozen years ago, after an out of school adolescence, Finnegan Oldfield was enrolled in a local mission – these organizations responsible for the integration of young people. “The opportunities were no big deal. I once did a test that took into account my skills and the fact that I left school in 4e. “ Suggestion? Taxidermist. “Can you imagine me? “ Today, at the age of 30, Oldfield is an actor, the job he wanted to do since his first stint in front of a camera, in CM2.
Distributed with regularity for five years, he gave of his person – stubborn air, alert flow, clear eyes, keen smile – in eclectic characters: soldier (Neither the sky nor the earth, by Clément Cogitore, 2015), high school student organizer of orgy (Bang Gang, by Eva Husson, 2015), a young man ennobled by his love of the theater (Marvin or Belle Education, by Anne Fontaine, 2017), awkward advisor to a presidential candidate (Foal, by Mathieu Sapin, 2018)…
After playing a restless commuter in Gagarin, by Fanny Liatard and Jérémy Trouilh, in June, he is back since August 13, camping an educator in the thriller Gone forever, Netflix series based on the novel by (and produced by) Harlan Coben.
“I arrived at the castings in bulk, with rascals, having partied the day before and read the text three times, but this flippancy pleased. »Finnegan Oldfield
There, he comes out, flushed and blown away, from the shooting of the next Michel Hazanavicius, a zombie film where he will be “A fashionable actor, like the new Adam Driver”. But on August 25, it’s in The Land of Men, of Naël Marandin, as we will see, as a peasant apprentice who takes over a family farm with his future wife (Diane Rouxel) whose point of view we adopt. Ambition of responsible agriculture and fusional love, up to the rape that she suffers and which cracks everything.
From a barely sketched supporting role, Finnegan Oldfield draws a moving young adult who, as soon as misunderstandings are cleared up, believes the word of the one he loves. That’s all. And that’s a lot. “Being a shoulder, I had never done that, he says in a cafe in eastern Paris, seated in front of a Perrier. There was a frustrating side. I was like, couldn’t this guy do more? I had suggested to Naël to add a scene where Bruno was going to say his hatred to the aggressor of his wife. But he was right to refuse it to me: it is she who saves herself. And then, perhaps unconsciously I selfishly wanted to have a scene of my own… ”
You have 62.1% of this article to read. The rest is for subscribers only.