Félix Kysyl, son of actors and trained at the Conservatoire national supérieur d'art dramatique in Paris, is distinguished by his intense and authentic acting, especially in complex roles. After starting out in film with short films and small roles, he gained recognition with Mercy by Alain Guiraudie, selected for Cannes 2024, and nominated for the César Award for Most Promising Actor in 2025. This year, he returns to Cannes with Who shines in battle by Joséphine Japy, where he plays Thomas, a toxic man in a fragile family. He will soon portray Jean Moulin in De Gaulle by Antonin Baudry. 

Is becoming an actor an obvious choice when you have actor parents?

No. Until I was 18, so very late, I absolutely didn't want to do that. People were asking me "What will you do later? Will you be like your parents?" And no, I didn't want to. Then, I think it caught up with me when I acted in a friend's school short film. I enjoyed it so much that I realized that's what I was having fun with. I'd kind of been immersed in it since I was little, so there was something quite familiar about that life. I haven't broken ties with my family, quite the opposite, and it's incredibly joyful. I can talk about it with my parents, who understand me and are incredibly supportive. They're totally behind me.

Many actor parents try to prevent their children from making the same career choice, precisely to protect them. Have yours tried?

Not at all! They supported me quite quickly. I don't think either of them was surprised by my choice. They found it perfectly logical and were behind me from the very beginning. They came to see me perform in the theater quite early on. Little by little, they became more and more reassured that it was the right place for me. And above all, they gave me a lot of freedom. They give me advice. We can work and talk together about all sorts of things. They have a lot of faith in me. 

And you, do you have the same self-confidence?

It depends on the moment, actually. I think we always have moments of "Am I legitimate?" Then, we work on that thing, and when we're proud of our work, that's when we have confidence in ourselves. Yes, when I'm proud of my work, I have confidence in myself. 

Did your nomination for the César 2025 award for best male newcomer reinforce this legitimacy?

Yes. There are also many people who trust me, so that's very joyful and pleasant for me. The trust is there, and above all, the pleasure. Trust is somewhat linked to pleasure, ultimately.

What is it like to be revealed to the general public through a first film role when you've been in this profession for much longer?

It's always a pleasure because it's a huge boost in visibility. It's true that before, I did a lot of theater, and I was part of the vast majority of actors who work well but don't necessarily get the spotlight. Out of all the actors who work a lot, very few are actually well-known. I'm happy to have this spotlight because it also brings projects I enjoy. It brings a bit of peace of mind regarding the choices we make.

Do you consider the film Mercy like the turning point in your career?

Mercy, it's the game changerYes (laughs). That's what changed everything. There was the film's success, and then there was Guiraudie's distinctive style, which often helps launch the careers of actors. And then there's the added prestige of the César nomination, and all of that really shines a spotlight. 

Did you feel you were participating in a project that would matter so much at the time of filming? Mercy ?

Yes, it was something to consider. Alain Guiraudie is someone I knew from before. I was also familiar with his films. He still enjoys considerable critical acclaim; he's very respected. I sensed that he had confidence in his film and knew what he was doing—which was incredibly gratifying. You never know if a film will be a success, if it will live up to your initial vision. On this film, I focused entirely on the enjoyment I was getting from it. It's quite rare, but every day of filming, I knew I was happy from moment to moment. 

Was the filming difficult because of the atmosphere of the story or the number of takes? 

Alain Guiraudie doesn't do many takes, and in the end, it was quite simple to film. Mercy It can have a very strange atmosphere that can be a little unsettling, but we made this film in a very healthy way, making a lot of jokes. Alain is someone who tells jokes on set, so it relaxes everyone, and they're all very happy to be working. He's down-to-earth, so he works down-to-earth too. 

You're returning to Cannes this year with Who shines in battle by Joséphine Japy. When did you discover the finished film?

I discovered it yesterday at the official screening. It's such a sensitive film that I'm letting Joséphine Japy decide what's best for her, how she wants to handle it. I go along with her when she wants me there, when she needs me, and I'm very careful about that. In terms of timing, it just happened that way. I'd never seen a film I'm in at Cannes before, so I was happy to discover it this way. I don't really have any rules, and it's not something that happens every day (laughs). 

What appealed to you when you read the script for this film?

It's about sensitivity. I immediately found it very beautiful, very sensitive, and also very elegant in its portrayal of illness and how a family copes with it. It's a family story above all, and I always find family films that address difficulties within the family, but also show that the family is strong and united enough for its members to be able to stay together, to be very beautiful.

In this film, you play Thomas, a toxic boy. How did you approach this harmful character?

My character was very well written. It's important to show these toxic guys; they're everywhere, and someone has to play them. There were times when I hated him; playing violence was hard, sometimes exhausting, but necessary. We all know a Thomas. With Josephine, we wanted him to be just that, not a caricature. 

What changes for you about being directed by an actress behind the camera?

It was great. Josephine is very sensitive, and it shows on set. She comes from an acting background, so she really knows how to connect with actors. I'd also been directed by actors in the theater, and you can definitely see the difference. She emphasizes embodiment, acting, and it makes a real difference. You feel understood, you speak the same language. It's very pleasant.

This film brings you to Cannes for the second year in a row. What does the Cannes Film Festival represent for you?

This festival has always represented glitz, cinema, and Hollywood's golden age. Being a part of it is very moving. There's a really special atmosphere; it's like being in another world when you're here. I really enjoy being here.

Perhaps you will return next year with the highly anticipated two-part series. De Gaulle, Directed by Antonin Baudry. What is your character in this big production?

Yes, I'm playing a less toxic character this time (laughs). Jean Moulin is a clear hero in his loyalty, someone you can easily admire. I really immersed myself in his life, I read a lot, I went to Lyon to visit the places where he lived. It's a powerful role, one that will stay with me for a long time. I can't wait for it to be released.