Vincent Cassel on Reuniting With David Cronenberg for “The Shrouds”

Sahar Nooraei May 12, 2025

From career-defining roles in French cinema to international acclaim, for three decades and counting, Vincent Cassel has proven that he’s as compelling as ever. In his latest film, The Shrouds, his third collaboration with David Cronenberg, Cassel explores the complex nuances of grief, mortality, and the influence of technology. Here, he chats with his co-star Diane Kruger, and the actors unpack their time on set, and discuss the rewarding experience of starring in Cronenberg’s most personal film.

Diane Kruger: Are you naked?

Vincent Cassel: No, I wouldn’t dare.

Kruger: How are you doing? You’re in Brazil?

Cassel: No, in Paris, but it’s sunny. Where are you?

Kruger: I’m in New York. I just got back yesterday. But I was in Paris all week last week, and it was pretty reasonable. Are you filming at the moment?

Cassel: No, I just released Banger last night with Netflix, and right now I’m just waiting for my daughter to come back from ballet.

Kruger: I just dropped my daughter off at school, which is so strange. I think that is life. Okay, let’s get into it. So, you’re in Paris, you’re not working right now. So, obviously, we’re going to talk about David [Cronenberg]. I know you’ve worked with him twice before, but how did you initially meet him?

“The most important directing is the way the director looks at you. And I think David is very much like that. It’s about how he uses our bodies.”

Vincent Cassel

Cassel: Well, I met David in a very classic meeting, and he was considering me for Eastern Promises at the time. I think he thought I was believable as a Russian because of a role I played years ago in Birthday Girl with Nicole Kidman. And then there was A Dangerous Method, and then he calls me for [The Shrouds].

Kruger: When did you meet him for this, or did he just call you?

Cassel: No, we met in Paris, very briefly. And you know how he is, never getting too deep.

Kruger: Did you know when he sent you the script that it was inspired by his own story and his wife?

Cassel: One of the first things he said was that it would be set in Toronto and would be inspired by the loss of his wife.

“It’s personal and haunting, even though I can’t tell you the storyline, even today. It is true. It’s almost like it’s a pretext, and part of the story doesn’t mean anything.”

Vincent Cassel on “The Shrouds.”

Kruger: Did he want you to look like him or is that something that just naturally kind of happened?

Cassel: At first, he was thinking of making [my character] Karsh Hungarian or double nationality, and finally he said, “No, no. I want you to have a Toronto accent.” I said, “Well, I’ll do my best.” You know, if you can understand me through the movie, it’s already a win. So, we started to make jokes about that, and I started to say, “Okay, so, I’m like a cinematic version of you.” And I remember you said on set one day, “Seeing you two together, you look like a father and a son.” It was really crazy because it’s not something that was precisely thought out, like the direction. It just happened, you know? I was very surprised that it worked so well.

Kruger: Yeah, me too, because I obviously know you, and I would have never guessed that you could even look like him — you’re so much taller. For me, it was really shocking because I met him in Paris, and we never really talked about the movie ever again until we were on set. And as you know, I called you and was like, “Wait, we’re not rehearsing? We’re not doing anything? This is insane.” But you really helped me. Was it the same for you? Other than that initial meeting, did you discuss what this character was supposed to be like?

Cassel: No, not really. I remember reading the script again and suddenly I was reading it, and I thought it was funny. I thought there was a lot of humour in it. I remember calling him and saying that it was much funnier than I thought it was going to be. David always has this elegant approach where he never really tells you what you’re supposed to do. I really think that the most important directing is the way the director looks at you. And I think David is very much like that. It’s about how he uses our bodies — as you know, he uses bodies so well.

“The thing about great directors is that they don’t talk too much — it’s not needed. If he chooses you, he trusts you.”

Vincent Cassel on working with David Cronenberg.

Kruger: The first time I watched the film when they screened it for me in Paris, I was kind of taken aback by the ending, and I was like, “What, wait, what?” Even though it’s very faithful to the script. But as time has passed, and after showing the film first at Cannes last year, it’s really stuck with me. There are moments that I sometimes dream about. There’s a haunting quality to it.

Cassel: I feel the same. It’s personal and haunting, even though I can’t tell you the storyline, even today. It is true. It’s almost like it’s a pretext, and part of the story doesn’t mean anything. To really go through the trip and the nightmare of it, and to finally get free in a way, because that’s what happens at the end.

Kruger: Do you think it’s more like a dream for you? How do you interpret the ending?

Cassel: Well, honestly, I don’t want to interpret it because I think the fact that it’s so open, it gives the opportunity to people to reflect on it, you know? Honestly, since the beginning, I always thought, “Okay, this is not a film for everybody,” but watching it now, I’m so glad I did it. I realized it’s not something I could have not done.

Kruger: I feel the same way. I’ve always been a fan of David’s films. In a weird way, I find this one to be maybe one of his most accessible films. Obviously, it’s an uncomfortable film to watch, but the subject matter is so relatable. It’s something that concerns all of us. There’s something there, and I feel when you look back, and when you think about it, that’s what you retain the most. Do you feel like David has been someone in your career that has really shaped the way you approach making films? Making three films with a director is unusual and great.

“It’s very neutral. It’s kind of serious, elegant, but it’s never over the top. What we chose and how we wore what we had from Saint Laurent was always in that cinematic version of how David dresses.”

Vincent Cassel on fashion in “The Shrouds.”

Cassel: I consider David to be one of the best directors I’ve worked with. And the thing about great directors is that they don’t talk too much — it’s not needed. If he chooses you, he trusts you.

Kruger: Obviously, Saint Laurent was a producer on the film and designed your character’s wardrobe. Do you feel they captured his character?

Cassel: I would say yes because it’s very neutral. It’s kind of serious, elegant, but it’s never over the top. What we chose and how we wore what we had from Saint Laurent was always in that cinematic version of how David dresses. Kind of dark, neutral, and chic.

Kruger: I mean, David is very cool whether he likes to admit to it or not. I remember at Cannes, he wore those crazy glasses, and everybody thought he was just being cool.

Cassel: Yes, and I think there’s a reason behind it.

Kruger: He’s such a tech guy. I recall you guys talking a lot about gadgets and tech on set.

Cassel: As we see in David’s movies, he’s very interested in tech, and I’m pretty interested in it too. So, we would share some of the new things that we heard about.

Kruger: Yeah, it’s really incredible. I remember I saw him in Marrakesh, and he was telling me all about this new hearing aid that he uses. And I wrote it all down and got it for my mom for her birthday.

Cassel: Yeah, I know, and I’m sure it’s the latest hit.

Kruger: It changed her life.

Cassel: Did you tell David?

Kruger: No, I know I should definitely text him, I’m going to see him next week.

Credits