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During our conversation, Maury reflected in depth on the origins of the series, its inspirations and the artistic philosophy that underpins his work.Maury was keen to clarify that Les Saisons did not originate from a personal concept. The project began as a commission from the series’ creator and writer, Hélène Duchateau. The initial premise was that of a love triangle — a narrative device deeply rooted in cinema and literature. Yet, for Maury, this was not the true core of the project.
What genuinely captivated him was the possibility of following characters across decades, allowing time itself to become a narrative and visual element. The ambition was to literally give time to the actors, filming them over a span of thirty years. In doing so, Les Saisons also becomes a portrait of France seen through its recent history — a past that is already, unmistakably, history.
The series unfolds across four distinct temporal milestones: 1991, 2001, 2010 and 2020. Each period captures not only the evolution of the characters, but also subtle shifts in social, emotional and cultural landscapes.
Formatbiz: How did you approach the idea of a love triangle, a structure so familiar in cinema and literature?
Nicolas Maury:
The love triangle was the starting point, but not what interested me the most. What truly fascinated me was the idea of crossing decades with characters — of giving them time. Filming actors over thirty years allows you to see life itself at work. That temporal dimension was essential to me, more than the dramatic mechanics of the triangle.
Formatbiz: The series also feels deeply rooted in French history. Was that intentional from the beginning?
Nicolas Maury:
Yes, very much so. There was a real desire to film France through its recent history — which is already history. The four periods we chose, from 1991 to 2020, allowed us to capture not only personal evolutions, but also social and emotional transformations that mirror the country itself.
Formatbiz: Your work often engages in dialogue with cinema history. Were there specific references for Les Saisons?
Nicolas Maury:
It’s interesting that you mention that. I actually asked the two actors playing the male characters, Abraham Wapler and Lucas Bravo, to watch Novecento (1900). The relationship between Gérard Depardieu and Robert De Niro in that film is, to me, absolutely magnificent. It was an important reference, especially in terms of emotional complexity and masculine bonds.
That said, many references are unconscious. There is certainly a lot of Ingmar Bergman — Autumn Sonata, for instance, with its complex mother–son relationship. I’m also deeply influenced by Korean and Japanese cinema, which often films very simple things but with an incredibly singular perspective. And of course, Maurice Pialat: À nos amours, Le Garçu. Interestingly, Géraldine Pailhas, who plays Suzanne in Les Saisons, also acted in Le Garçu.
Formatbiz: Is there already a future planned for the series?
Nicolas Maury:
There will very probably be a second season, but with a different development of the concept. This first season was centered on the mother. The next one could, for example, take place in the mountains. The idea is to continue following the seasons of life of a group of people, but through different characters and stories.
Formatbiz: Did your life changed after the success of Call My Agent?
Nicolas Maury:
I don’t really feel that I’m successful, even if people refer to Garçon chiffon or Call My Agent!. My life hasn’t fundamentally changed. Perhaps I allow myself more freedom now — to write, to make films, to make music. But for me, the only true success is to remain the same person, not to become fragmented, to stay coherent with myself, with my friends and my family. And above all, not to be bored in my work.
Formatbiz: Your relationship with the world seems central to your artistic practice.
Nicolas Maury:
My work is about restoring the world. The world passes through me, and I give it back. It doesn’t interest everyone — and that’s perfectly fine. For me, it’s almost a form of religion: the others. That’s probably why I’m very solitary, and why my return to the world can seem contradictory. I like to show those we don’t usually see in cinema, to tell stories that seem ordinary, to sing about emotional disorder and romantic disasters.
Formatbiz: You move fluidly between acting, directing and music. Do you see them as separate practices?
Nicolas Maury:
Not at all. For me, it’s the same gesture. Acting, directing, making music — it’s all part of the same impulse. Soon I’ll be shooting two films I can’t yet talk about, one of them a leading role as a man accompanying his wife during the final days of her life. I’m very happy about that. And I’m also preparing my second feature film as a director, Mon oiseau par la fenêtre, which will take place between Switzerland and France.
