Enjoy Watching People Hate It: Larissa Corriveau Shines in ‘Les Armes’ Role

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Larissa Corriveau : «J’aime qu’on soit dans l’archétype de la méchante»

Larissa Corriveau sur le plateau de la série «Les armes», en juillet dernier, lors d’une visite de presse.

«C’est comme si moi, intuitivement ou instinctivement, j’avais amené un petit côté louche dans mon jeu. Il y avait dès le début un petit côté mystérieux, puis le look aussi qu’elle avait, le chignon. C’était aussi précisé qu’elle écoutait aux portes… sans qu’on ait dit qu’elle était traîtresse. Je pense que mes propositions d’énergie un peu ambiguë pour le personnage ont inspiré l’auteur à développer la piste de l’espionne.»

Pour Larissa Corriveau, la majore Sergerie est une «mercenaire dont la principale carte est la manipulation». Selon l’auteur Alexandre Laferrière, cette militaire québécoise qui parle plusieurs langues, dont l’italien et le russe, a été recrutée par Stavinski «pour accomplir certaines tâches». il a aussi ajouté qu’en plus des Russes,les Chinois s’ajouteront dans le portrait.

«Le plaisir que j’ai à la jouer, c’est d’être toujours dans le mensonge et de savoir que le public sait. Les seuls qui ne savent pas qui elle est vraiment sont les autres personnages, ce qui est quand même jouissif. J’aime qu’on soit dans l’archétype de la méchante et j’aime que les gens prennent plaisir à la détester.»

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How does teh deliberate creation of unlikable characters,like Florence in *Les armes*,contribute to the show’s overall dramatic impact and thematic exploration?

The Allure of the unlikable Character: A Deep Dive into ‘Les armes’

larissa Corriveau’s portrayal of Florence in Les Armes (translated as Weapons) isn’t designed to win popularity contests. in fact, the series thrives on the audience’s discomfort, and Corriveau expertly navigates the complexities of a character many viewers actively dislike. This isn’t a flaw in her performance; it’s a testament to it. The show, created by Marie-Ève ​​Tremblay, deliberately presents morally ambiguous characters, and Florence is arguably the most polarizing. Understanding why audiences react so strongly to Florence – and why the showrunners likely intended that reaction – is key to appreciating Corriveau’s nuanced work. The series, a Quebecois drama, has garnered meaningful attention for its raw depiction of modern relationships and the frequently enough-destructive patterns within them.

Decoding Florence: Motivations and Flaws

Florence isn’t simply “mean” or “selfish.” Her actions stem from a deep-seated insecurity and a desperate need for control, often masked by a veneer of detached cynicism. Corriveau doesn’t play her as a caricature; she imbues Florence with a vulnerability that occasionally peeks through, making her all the more interesting – and frustrating.

* Control Issues: Florence’s attempts to manipulate those around her, particularly her partner, are driven by a fear of abandonment.

* Emotional Immaturity: She struggles to articulate her needs and resorts to passive-aggressive behavior and outright hostility.

* Past Trauma (Implied): While not explicitly stated, hints throughout the series suggest a history of emotional neglect or trauma that informs her present-day behavior.

* Self-Sabotage: florence consistently undermines her own happiness, seemingly unable to accept genuine connection.

this complexity is what separates Corriveau’s performance from a simple villain portrayal. She’s playing a deeply flawed person, not a cartoon antagonist. The success of Les Armes hinges on this realism, and Corriveau is central to achieving it. Fans discussing the show online frequently use terms like “toxic,” “manipulative,” and “infuriating” when describing Florence, demonstrating the character’s impact.

Larissa Corriveau’s Performance: Beyond the Hate

Corriveau’s skill lies in making Florence’s unpleasant qualities believable and, at times, even understandable. She doesn’t shy away from the character’s ugliness, but she also avoids reducing her to a one-dimensional stereotype.

* Subtle Nuances: Pay attention to Corriveau’s micro-expressions – the fleeting moments of doubt, sadness, or vulnerability that betray Florence’s carefully constructed facade.

* Vocal Delivery: Her tone is often flat and dismissive, but she subtly alters her delivery to convey underlying emotions.

* Physicality: florence’s body language – her posture,her gaze,her movements – communicates a sense of guardedness and defensiveness.

* Chemistry with Co-Stars: Corriveau’s interactions with the other actors, particularly those playing her romantic interests, are electric, fueled by tension and unspoken resentments.

Critics have consistently praised Corriveau’s performance, highlighting her ability to elicit such strong reactions from viewers. Several reviews have noted the bravery of taking on a role specifically designed to be disliked, and succeeding in making it compelling.

The Power of Unlikable Characters in Television

The trend of featuring morally ambiguous and even outright unlikable characters in television is growing. Shows like Succession, You, and Fleabag have all found success with protagonists who are far from heroic.

* Realism: Life is messy, and people are flawed. Unlikable characters reflect this reality.

* Dramatic Tension: Conflict is essential to storytelling, and unlikable characters often create more compelling conflicts.

* Moral Exploration: These characters force viewers to confront uncomfortable truths about themselves and society.

* Breaking Conventions: challenging traditional narrative structures and character archetypes.

Les Armes fits squarely within this trend, and Florence is a prime example of a character designed to provoke a reaction. The show isn’t asking us to like Florence; it’s asking us to understand her, and to grapple with the complexities of human behavior. The show’s exploration of modern relationships, infidelity, and the search for meaning resonates with audiences, even as they condemn Florence’s actions.

NAOS and Quebecois Talent: A Supporting Ecosystem

While not directly related to the show’s content, it’s worth noting the broader context of Quebecois arts and culture. Companies like NAOS, a group of brands inspired by skin health, often support and invest in local talent and creative industries. This ecosystem fosters the development of unique and compelling storytelling, like that found in Les Armes. The success of the series highlights the strength of Quebecois television and its ability to produce internationally recognized talent like Larissa Corriveau.