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The film shows in an unflattering light an important character of the file, this man who, at the time of the disappearance of Suzanne Viguier, had an affair with her. I just modified those of some witnesses that were a bit ancillary because they had never been quoted in the media. And since I wanted to stick as closely as possible to judicial truth, it seemed more coherent. The Estelle Mouzin affair and the “challenge” of respectful informationīecause even if we take aliases, we know that the public will easily recognize so-and-so. When you adapt a real case, from a legal standpoint, it doesn’t make much difference to change the names of the main people involved. Is it this same concern for authenticity that led you to keep the real names of the protagonists of the affair?ĪR : Yes. I also relied on the 250 hours of listening contained in the file, while setting myself a rule: only to state in the film extracts of listening which have already been revealed publicly, during the trials or in the press. So I did a lot of documentation work by asking journalists present at the trials to give me their notes.
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Various facts, when television takes hold of reality
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To the word, for everything concerning the remarks made at the hearing. And it seemed absolutely necessary to me to be able to say: everything that is told about the case is true from a legal point of view. But what I wanted to do was above all a film of the trial. I invented this character in particular to convey, through him, all the passion, and even the madness, which can take hold of public opinion in the face of an unresolved news item. Why ?ĪR : I think there can be no cinema without fiction.
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But for the rest, you have decided to stick as closely as possible to the judicial file. The main character of the film, who fights to demonstrate the innocence of Jacques Viguier, is fictional. And if they had opposed the film, I wouldn’t have. For example, before I started, I met Jacques Viguier and his children for a long time. Even if, as a director, you have to keep total artistic freedom, it seems impossible to me to tell a real story without setting certain ethical and moral principles. It is the role of cinema to question reality, in an approach where fiction can be mixed with a more documentary approach. Review of the film “Une intime conviction” On the benches of these assize courts, I wanted to tell about all the complexity of this affair which fascinated public opinion, the importance of doubt, the dramaturgy of the hearings. Everything I knew about justice came from American films. Une_intime_conviction_1080p_x264.AAC5.1.mkvĬritics Rating: 6.The cross : Why did you decide to make a film on the Viguier affair?Īntoine Raimbault : It turns out that I attended the two trials of Jacques Viguier and that I discovered there the functioning of our justice which I knew in fact very badly. Link to watch Une intime conviction (2018) Writers Movie: Karim Dridi, Isabelle LazardĪctors: Marina Foïs, Olivier Gourmet, Laurent Lucas