Sophie Mas and Natalie Portman met by chance at the Cannes Film Festival 15 years ago. Portman was on the jury, Mas was introduced through a friend, and they developed an instant friendship. A decade and a half later, they found themselves back at the Croisette — this time to premiere the first project out of their newly formed production company, MountainA (named for the Sisyphus myth, their shared affinity for the mountains, and the first letter of all their children’s names).
May December, the Todd Haynes-directed melodrama about an actress (Portman) studying the real-life subject of her next part, played to rave reviews at the French festival, quickly selling to Netflix for $11 million. Ahead of the movie’s North American premiere, in the opening slot of the New York Film Festival, Mas tells THR about the fated journey to the big screen.
How did you and Natalie go from friends to co-producers?
Our friendship was always more important to us than work, so while we would give each other advice about our careers or projects, we didn’t consider formally working together — until I left my last job, at RT Features, in 2019 and she called me and said, “Why don’t we start something?” Natalie knows better than any producer how to detect an interesting project.
Do you remember your first reactions to the script of May December?
We loved how unexpected it was. A lot of the reception to the movie so far has described it as campy, and I don’t know if we agree with that, but you really don’t know if you’re supposed to laugh, if it’s ironic, and that feels unique.
What was it, specifically, about Julianne Moore and Charles Melton that felt right to play the couple at the center of the film?
Todd [Haynes] suggested Julianne right away, and Natalie had never played opposite her, so it felt very exciting. For Charles’ role, we looked at a few people. Being from France, I didn’t know Riverdale — Todd and Natalie told me about it — but his audition was impeccable. He totally understood this man and his unusual journey. I’m excited for him to have this moment to show the world the variety of what he can do.
What sorts of hopes did you have for its world premiere?
When you make a film, you’re betting on the script, and we felt a conviction — but at Cannes, we were playing late at night, after Killers of the Flower Moon. Julianne has an early line where she says, “I don’t think we have enough hot dogs,” and the audience knew to laugh — so we felt that they understood the tone. We knew that the market, especially with the strike, would be tight — we financed the movie independently, but the Netflix sale felt like a testament to the work.
With the premiere at NYFF happening during the actors strike, do you feel that more of the promotion is on your shoulders?
I think this really feels like Todd’s moment. We shot this in 23 days because it’s all we could afford, and Todd pulled it off. Plus, having the opening night slot is really special — and considering all the great films Todd has made throughout his career, it feels like a chance for the audience to really celebrate him, not just for May December, but as a director overall. I’m excited for that.
Interview edited for length and clarity.
This story first appeared in the Sept. 27 issue of The Hollywood Reporter magazine. Click here to subscribe.
