A National Film Board of Canada production

Catherine tries to toughen herself to impress the “princes” in her circle, who turn out to be more off-putting than charming. When all her dubious strategies fail, she must face the ultimate test: learning how to embrace her true nature.

In Ultra Strong, a candid and self-deprecating autofictional story by Catherine Lepage, we’re invited to reexamine our youthful ideals—from Cinderella to Iron Maiden.

Catherine tries to toughen herself to impress the “princes” in her circle, who turn out to be more off-putting than charming. When all her dubious strategies fail, she must face the ultimate test: learning how to embrace her true nature.

Photos of filmmaker Catherine Lepage during her childhood and teenage years, illustrating her different hairstyles.

Courtesy of Catherine Lepage.

Your films and graphic novels are autofictional. What does this type of narrative enable you to accomplish?

Yes, though it’s exaggerated, Catherine really is me! [laughs] I’ve put myself in a position of vulnerability since my very first book [12 mois sans intérêt], in which I talk about depression. Publishing that book was a huge step, and it was very well received. It’s as if autofiction has become a way for me to remove a burden and express things I tend to hide in the shadows. I root out the troubling things inside me, and I expose them to take away their power. Writing books was harder because I was consciously revealing things. But with film, since I had already revealed myself, I let myself have more fun.

What prompted you to collaborate with Régine of Arcade Fire, for the original score of Ultra Strong?

I’ve worked for Arcade Fire since 2017, and I’ve known Régine for even longer, through my graphics work for the Kanpe Foundation, which she co-founded. It was nice to hire her for a change. I wanted to have as many women on the team as possible, and I know her to be a dedicated, engaged and committed person. So all the ingredients were there. I didn’t want to be too controlling, so I could really benefit from her contribution. I was really impressed with her first draft, because it answered a question I had asked myself, though I hadn’t mentioned it to her: Do we want to look down on Catherine and judge her, or do we want to stand with her? Régine’s music was decisive in that way; she enveloped the character so that we’re completely on her side. Régine draws us into the dream, the marvellous world that Catherine creates for herself.

And how did you manage to get Bruce Dickinson on board?

I listened to a lot of Iron Maiden when I was young. Many years later, I saw a documentary where he talks about how when he plays a big stadium and sings “You!,” he wants everyone to feel like he’s addressing them personally. It’s impressive. He’s a real performer. That stayed with me. Beyond my love for his music, I feel he has a superhero vibe about him. My producer, Christine Noël, and I worked hard to get in touch with him and ask if he’d take part in the film, and we were blown away when he agreed! I must admit that the idea of working with him was a bit intimidating, but he was very friendly, accessible and totally willing to take part. And he speaks French too! It went really well.

Beyond the reference to Iron Maiden, Ultra Strong contains many other nods to the 1980s and 1990s. How are they important to the story?

Yes, there’s a mixture of very Quebec-specific references and others that are more universal. I see them as added value. Of course, some of it is nostalgia, though that isn’t a central theme. I feel like the scope of Ultra Strong goes beyond nostalgia because it addresses young adults above all—women and men alike—going through these stages of life now. Of course, people of my generation will recognize themselves, but I wouldn’t necessarily count on an audience made up only of Iron Maiden fans. [laughs]

How did the lessons learned from your first film influence how you approached making Ultra Strong?

After finishing The Great Malaise, I knew I wanted to keep making films; I had learned so much, and it would have been a waste to not make another one. Since I come from a print and advertising background, where you tell a story with still images, I had to think deeply about what motion, sound and music could bring to the table. There was also the whole question of pacing: unlike with books, where people can read at whatever speed they want, in film you have to “manage” the viewer’s time.

At the same time, I had also learned how to animate, which I had not studied before. But as someone who is self-taught, I love experimenting with new techniques. I learned so much collaborating with animator Agathe Bray-Bourret on my first film, and I was fortunate to continue my learning with Rachel Samson. Basically, it’s as if the creative mechanics of making a film took shape with The Great Malaise, and that made me want to explore the possibilities further with Ultra Strong. There’s a kinship there, even if aesthetically the two films are very different.

How would you describe your animation technique?

The NFB’s technical director summed it up with the expression “digital silk-screening,” which is really funny since obviously, there’s no such thing. I bring the print aesthetic to film; my approach is inspired by the technique I’d use if I was making a hand-printed book, using simple methods and a limited colour palette. I work with blocks of colour.

You also use a paintbrush and black ink. What does this bring to the film?

I love the imperfections it creates. And there’s the surprise effect: how the brush is loaded with ink means that no two lines will ever be identical. I have to work with the knowledge that I don’t have absolute control, and that’s really fun! Wielding a paintbrush keeps me grounded in the moment, almost as if I deliberately put myself at risk. I try to make a line as accurate as possible, but if it’s not perfect, I still accept it. With digital tools, you can start over as many times as you like.

Why did you choose to animate in 2D?

That’s just the way it came to me. I love Snoopy-style animation, and I wanted to keep that simplicity. I won’t say I’ll never do depth… but it’s as if my brain doesn’t naturally work that way. I actually still like the limitation. I feel like animation today is so technical, and when it comes to perspective, it’s like there are actual camera shots. When I draw, I don’t blur the background [laughs]. I mostly focus on exploring visuals, colour and composition.

What’s the relationship between Ultra Strong and your French-language graphic novels Bouées and Voler au-dessus des trous?

Instead of directly adapting these books, I set myself the challenge of reinventing them. First, I decided to introduce aspects to the film like food and kittens to create a good pace and visual variety for Ultra Strong. In my first film, I enjoyed mixing different techniques and switching animation styles in short tableaux. In making the second film, I went all out, just to make sure I wouldn’t spend two years drawing the same character. [laughs] For example, the fantasy elements, such as Bruce Dickinson, were drawn with more realism and subtlety than the real-world elements. After getting the urge to do this, I justified it with the rationale that our ideals are more beautiful and perfect than reality.

Secondly, I decided to choose my main theme from among the ones I’d explored in the books: searching for strength in others rather than within. At the time, I was reading Mona Chollet’s book Reinventing Love, which talks about how society urges us to dream about a Prince Charming to take care of us. The book really resonated with me and fuelled my thought process for the film. The moment when Catherine is truly capable of being in a relationship is when she can also support the other person and be there for him. Ultimately, what she discovers is that to be comfortable with someone, you have to be comfortable with yourself.

Is your approach shaped by feminism?

Today, I would say yes, but that’s a fairly recent development for me. I’ve never felt I had fewer career opportunities or that I was worth less… But Mona Chollet made me realize the extent to which society has fed us ideals that don’t match reality. I’ve been told in the past that my illustration style was feminine, and I perceived that as a weakness. Looking back, I find that reaction troubling. I feel that Ultra Strong does take a feminist slant, without being strictly a feminist film.

What role does humour play? It’s omnipresent in your work, even with serious subjects.

Humour allows me to take the sting out of delicate subjects and raise awareness without moralizing. Humour shows that I’m less embarrassed now, and I can laugh at my past experiences. But I was worried that some people would take the plot twists and pop vibe of Ultra Strong at face value. Would they understand that there’s a thought process behind the humour? The film is almost a romantic comedy: it’s cheerful and lighthearted, while offering a commentary on the world we live in. Though my goal was to stay true to myself and make a light, playful film, there is a serious message there.

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