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14.01.2023 - 02:19 / deadline.com
Alice Diop’s French drama Saint Omer opens in theaters today, and I remember the emotions I felt when I saw the film at Venice last year. It was a very personal experience for me — as if someone was telling my story on screen. At the beginning of my eventual interview with Diop, I asked where she sees herself within the French film industry. She made it clear she has stopped contemplating how she fits in. “It’s a question that I’m asked a lot, but I no longer ask myself where I fit in with French cinema,” she said. Can’t blame her for thinking that way. Creators of color often are asked those questions — or about the state of inclusion in Hollywood and how they would improve it. Questions that their white counterparts frequently and unfairly avoid.
Written by Diop, Amrita David, and Marie N’Diaye, Saint Omer allowed the director to shift focus to her work and let the story speak for itself. “I don’t want to put my energy into what my place in the industry is anymore,” she said. “I want to put my energy into what I have to say.”
Inspired by true events, the movie is loosely based on Euripides’ Greek tragedy Medea and follows Rama (Kayije Kagame), a university professor in the midst of writing a novel. She attends the trial of Laurence Coly (Guslagie Malanda), a young woman accused of killing her 15-month-old daughter by abandoning her on a beach in northern France. The words of the accused and witness testimonies will challenge everything Rama thought she knew about generational trauma and motherhood.
As Diop’s first feature film, Saint Omer won best debut film and the Silver Lion at Venice, a Gotham Award for best international film, voted one of the five best international films by the National Board of Review, a
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