Jane Austen Wrecked My Life

Interview with director Laura Piani

Film opened May 23 in select cities and goes wide on May 30.

Describe the film/TV show for us in your own words.

Jane Austen Wrecked My Life is a modern romcom, a love letter to literature, poetry, and broken hearts. It tells the story of Agathe, a bookseller at Shakespeare & Co. who dreams of becoming a writer but is completely blocked and afraid of everything. Books are both her refuge and her prison. Invited to the Jane Austen Residency to write her first novel, she must confront her fears, become the person she wants to be, and open herself up to love.

What drew you to this story?

I worked for many years as a bookseller at Shakespeare & Co. Like my main character, I have often felt like I was born in the wrong century. I wanted to portray a woman who has the freedom to do whatever she wants but is paralyzed by the fear of taking risks and failing. I wanted to write a comedy about what it means to have romantic aspirations today—are they still possible? And, of course, I wanted to explore the strange, transformative relationship we have with books that change our lives. Jane Austen didn’t wreck my life—she made me realize that you can write about love and romance while also being political, feminist, and funny!

What do you want people to think about?

I think the poem Paths at the end of the film perfectly summarizes what I wanted to say. A broken heart is the beginning of all real perception. The only way to write—or to live—is to be sincere and vulnerable.

What was the biggest challenge in making this?

I wanted to make a melancholic comedy rather than a traditional romantic comedy. I wanted the audience to be both amused and touched by a clumsy, sometimes shameful character who feels lost. But I didn’t want to shoot it like a typical romcom. My references were James Ivory’s films, especially Howards End, not only because it’s a masterpiece, but because it captures the essence of melancholy—what it means to live with grief and loss. At the same time, I love slapstick, absurdity, and goofy characters. I tried to blend all of these elements together.

Courtesy of Sony Pictures Classics

What was the development process? How did you get greenlit?

I met my producer, Gabrielle Dumon, years ago and shared my dream of making a romcom. It took some time before I came back to her with a pitch and a title that had been there from the beginning. We developed the script until we felt confident in its strength and then moved on to casting. Camille Rutherford was an obvious choice. I wanted to work with emerging actors—people from theater and clown backgrounds—without any constraints. My producer supported me and helped me maintain that creative freedom. Financing a first film like this was a real struggle, but I’m so grateful that we managed to do it with a limited budget and complete artistic freedom.

What inspired you to become a storyteller?

I’ve been a storyteller since I was very little—I’ve always been obsessed with stories, and I love people. If you listen to those around you, you’ll find stories everywhere. My grandfather gave me a book to read every week starting when I was seven, and I think that’s the greatest gift I ever received as a child. It made me a passionate reader.

What’s the best and worst advice you’ve received?

The best advice came from my father. He once told me:
"All you have are your ideas. They are the most precious thing you own. Nurture them."
It gave me a real sense of freedom and confidence.

The worst advice came from an older writer: “Don’t listen to anything people say about your writing.”
I believe the opposite—you should listen to everything, read between the lines, and still hold on to your vision.

What advice do you have for other female creatives?

Be kind, and never accept anything less than respect and kindness in return. I believe I’m part of a generation of directors who value true collaboration and are committed to working respectfully with others.

Name your favorite female-directed film and why.

Jane Campion—because she found a way to merge pure poetry with cinema.