A man who, according to Antonin Baudry, the director of the new film, was largely alone.

Well, I think that people, at least in France, but I think mainly everywhere, don't realize how much the situation was desperate for de Gaulle and for France.

It was after a collapse, and France that was the first army in Europe, was, uh, defeated in three weeks, so there was nothing left.

And you, you, you get this man alone who pretends to fight but has no army, who pretends that France will never, will never capitulate, but has just capitulated, who pretends to convince the French that they will keep fighting but is unknown in France, who pretends to convince the British to help him but doesn't speak English.

And you've got this man in, in Churchill's office, and the rational thing would have been to not support him, and that's what Churchill's cabinet advises.

So what strikes me is how much irrational Churchill's decision is.

In other words, how much emotional Churchill's, uh, decision is to support him.

One other theme that comes out very strikingly from your film is the importance of Africa, at least the psychological importance of the battles in Africa, of regaining territory in Africa, for the kind of self-belief of those who were supporting de Gaulle and for de Gaulle himself.

That was the real Charles de Gaulle speaking on the BBC World Service in June 1940, a man who, according to Antonin Baudry, the director of the new film, was at the time largely alone.

Well, I think that people, at least in France, but I think mainly everywhere, don't realize how much the situation was desperate for de Gaulle and for France.

It was after a collapse, and France, that was the first army in Europe, was, uh, defeated in three weeks, so there was nothing left And you, you, you get this man alone who pretends to fight but has no army, who pretends that France will never, will never capitulate, but has just capitulated, who pretends to convince the French that they will keep fighting but is unknown in France, who pretends to convince the British to help him but doesn't speak English.

And you've got this man in, in Churchill's office, and the rational thing would have been to not support him.

And that's what Churchill's cabinet advises.

So what strikes me is how much irrational Churchill's decision is.

In other words, how much emotional Churchill's, uh, decision is to support him.

Tell us a bit about that because in some sense it also illustrates the, the, the kind of dynamic between the British and the French.

Antonin, I thought I knew the story of the Free French Movement and I thought I knew de Gaulle's part, but this film really surprised me and I'm interested in what compelled you to make it at this time in history.

Well, you know, it's very inspiring for me to see a guy who's totally lonely after a huge defeat.

He has nothing left.

The Nazis are occupying France.

He goes to London and then he has no skill to do whatever he wants to do.

Like he wants to fight.

He has no army.

And I wonder how much your film sets out to change perceptions of some of those politicians like Pétain.

J'aimerais savoir en quoi, vous, faire du cinéma vous rend heureux ?

Ben tout le temps.

Pour moi, chaque moment, chaque heure passée, euh, me procure, euh, de la joie, que ça soit pendant le tournage, que ça soit pendant le montage, que ça soit pendant l'écriture, que ça soit pendant le mixage.

C'est, c'est-- Je sais pas, c'est le fait de faire quelque chose, c'est un artisanat, en fait.

Et, euh, moi, quand j'ai commencé à aimer les films quand j'étais gamin, je pouvais-- je m'imaginais même pas qu'il y avait des gens qui les faisaient.

Je voyais des films et je trouvais ça trop bien.

Et, et du coup, ça me fait tout le temps rêver, quoi, de l'idée de pouvoir mélanger des images avec des sons, de la musique, des voix.

Si tu te ramasses.

J'aimerais savoir en quoi vous, faire du cinéma vous rend heureux ?

Ben tout le temps.

Pour moi, chaque moment, chaque heure passée me procure de la joie.

Que ça soit pendant le tournage, que ça soit pendant le montage, que ça soit pendant l'écriture, que ça soit pendant le mixage.

C'est, c'est-- Je sais pas, c'est le fait de faire quelque chose, c'est un artisanat, en fait.

Et euh, moi, quand j'ai commencé à aimer les films, quand j'étais gamin, je pouvais-- je m'imaginais même pas qu'il y avait des gens qui les faisaient.

Je voyais des films et je trouvais ça trop bien.

Si tu te ramasses...