As the first Black woman ever to represent France in the Oscar race, 'Saint Omer' filmmaker Alice Diop is changing the game.
fashions an innovative two-hander. We’re largely in one setting, and mostly listening to Laurence’s testimony. Just as important as hearing the defendant’s words—her earnest, honest attempts to explain the inexplicable—is watching the attendee process them. “Without the character of Rama, it would have been very uncomfortable for me to make the film—I think it would have been nearly immoral and sick to look at such a horrific story that way,” Diop says.
It’s a distinctive kind of cinematic language—subverting the conventions of courtroom drama for a thorny, formally innovative dual character study. Laurence essentially recites her biography before those eager to punish her. She describes her difficult upbringing and tumultuous relationship with her own mother; she achingly reflects on the isolation of life in what’s essentially single parenthood, an immigrant without many options and at the whims of people who don’t care to understand her.
Indeed, while we don’t know much about Rama, we recognize a certain identification through her facial expressions—and we are implored to identify ourselves.
All this comes with the kind of exposure that Diop is still absorbing. “I am able to have a platform to say what I’ve always said, what I’ve tried to say for 20 years, and that’s a very precious chance and experience,” she says. One resounding takeaway, though, has been the impact of her conversations with people from all over the world, all kinds of backgrounds—Black and white, men and women, Italian and French and American and otherwise.
Diop is currently at work on another narrative feature, fresh off of finding a few new famous fans. The Venice jury, chaired byawarded Diop with both the best debut film award and the Grand Jury Prize, or second place overall. The French newspaper
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