At this year’s Berlinale, We Believe You made an impact with its unflinching portrayal of the intersection between the legal system and the emotional toll of a custody battle involving abuse allegations. Directed with precision and sensitivity, the film explores the labyrinth of judicial procedures while centering on Alice, a mother fighting to protect her children. Through realism and superb performances, We Believe You raises urgent questions about the presumption of innocence, the weight of a child’s testimony, and the systemic barriers that can perpetuate trauma rather than resolve it.

In an insightful discussion with View of the Arts, Charlotte Devillers and Arnaud Dufeys explored the creative and ethical challenges of making such a complex narrative. From the details of courtroom realism and the psychological depth of Alice’s journey to the larger societal implications of their work, they offered valuable perspectives into the film’s storytelling. With very detailed research, and collaborations with legal professionals, We Believe You is a cinematic achievement as it calls to reflect on the voices we choose to hear and the urgent need for systemic change.

View of the Arts: We Believe You walks the fine line between legal objectivity and human suffering. How did you approach balancing the legal difficulties of the custody battle with the personal, and emotional weight of Alice’s experience?

Initially, we chose to anchor the whole story in a single office interview with the Juge des Enfants, a figure who intervenes in France and Belgium when minors are considered to be in danger. This choice enabled us to clearly set out the parallel proceedings underway: the one before the Family Court, dealing with custody and accommodation arrangements, and the ongoing criminal investigation.

Within this rigorous framework, we gradually grafted Alice’s emotional journey. We made sure that the whole film was based on the tension of her evolution: initially perceived as a dysfunctional mother, she gradually reclaims her place through words, and becomes aware that she is, above all, a protective mother.

VOA: The courtroom scene plays out in real-time, adding to the realism of the film. What were the creative and logistical challenges of executing such an extended, immersive sequence, particularly with real lawyers alongside professional and non-professional actors?

From a writing point of view, the main challenge was undoubtedly to maintain the audience’s attention throughout this single, extended scene. From the outset, we realised that the very structure of this type of hearing offered a natural build-up of tension, with progressive revelations: first, the lawyers speak, then both sides. We accentuated this dramatic tension by working through Alice’s emotional journey while adding subtle narrative reversals – notably through certain interventions by the Judge and the lawyers, or sudden elements of tension, such as the father’s hand perhaps touching the mother’s thigh.

Then, once the script had been finalised, the staging was self-evident. We knew that to preserve the fluidity of the actors’ performance, it was essential to shoot in long takes. Shooting this scene in just three days, with three cameras, was not only an artistic choice but also a necessity to meet the film’s budgetary constraints.

When we were writing the script, we also made the decision to pit professional lawyers against the actors. We feared that the lawyers would lack naturalness or that the contrast with the actors would be too marked, but the auditions soon proved that the chemistry worked magnificently well. From then on, our biggest challenge was to ensure that the pace was right, sustained, and tense throughout, with a constant progression in the state of Alice’s character. We also had to make sure that the film’s structure was progressive rather than repetitive.

VOA: The film critiques the presumption of innocence in cases of domestic violence and child abuse. Given the weight of this ethical dilemma, what kind of discussions did you have while writing the script to ensure a nuanced exploration of this issue?

For us, there has never been any question of questioning the importance of the presumption of innocence. It’s a legal principle that operates within a precise framework: when someone is the subject of proceedings, he or she is considered innocent until a court decision is reached. Our thoughts turned instead to another fundamental principle: in cases involving children’s speech, shouldn’t the precautionary principle, which implies protecting children, take precedence, as many progressive Youth Judges are advocating today?

Our starting point is that children, unlike adults, are unable to sustain complex, coherent lies over a long period. This is precisely what we set out to demonstrate in the script, by building up a progressive accumulation of factual elements. Signs that we can identify, even if they are weak signals. We were able to meet with judges, in particular French judge Edouard Durand, victims and members of associations fighting against sexual violence, and to reflect and discuss this question which is essential for us today: what is the most serious? Taking a tiny risk of mistaking an adult’s guilt, or exposing a child to the far greater danger of being sexually abused?

Our intention was to encourage viewers to reflect on a fundamental question: what place do we give to the voice of the child in our society today?

VOA: The justice system is often seen as a place of resolution, yet We Believe You highlights its potential to perpetuate trauma. How did you conceptualise the legal setting not just as a backdrop but as an active force shaping Alice’s psychological journey?

For us, it was essential to show the extent to which the length, repetition, and multiplication of legal proceedings can intensify trauma. In our story, these procedures slow down medical care for the child. The slowness and multiplication of procedures also lead to a deep sense of revolt, which, over time, has caused extreme tension in the relationship between Alice and her children. The whole family unit has been shattered.

We wanted this context to be tangible and powerful right from the opening of the film because it’s this dysfunction Alice encounters with her children that places her in that active force you speak of: her goal is to bring them all the way to court so that their word is heard and recognised.

Visually and formally, we wanted to portray justice as a Kafkaesque universe: while it may claim to be more transparent and accessible today, it remains a place where victims are profoundly vulnerable, as it is precisely there that their wounds are constantly rekindled

VOA: The performances in We Believe You are deeply affecting, especially Myriem’s portrayal of Alice. What was your approach to directing such emotionally intense scenes, and how did you create a space where actors could deliver such raw, authentic performances?

Our approach to directing actors was tailored to each performer and character, respecting the working methods that were most natural to them: the professional actors studied their texts with great precision, while the lawyers prepared the scene as if they were actually going to plead. As for the children, they were guided by a notion of play in the original sense of the word, based on simple objectives to be achieved. He only discovered the situations and dialogue lines at the last moment.

In the run-up to filming, we also organised improvisation sessions to nurture the relationship between Alice and her children, but also to enable the lawyers and actors to meet in a setting close to that of the preliminary contact that often precedes a court hearing. This real-life setting, combined with long takes, enabled us to achieve the level of veracity and naturalness we were looking for.

With regards to Myriem Akheddiou in particular, we prepared her role by sharing with her the most precise and detailed testimonials we had, so that she could draw on concrete elements to build her interpretation. Myriem quickly conjured up the image of a she-wolf mother, a figure that seemed obvious to us. We then developed all the character’s energy and body language around this idea.

VOA: The film implicitly critiques societal biases that often favour the accused over the accuser in custody battles involving abuse allegations. How did you navigate the risk of oversimplifying or polarising the narrative, ensuring that all perspectives remained complex and humanised?

We began by examining the recurrent presence in such proceedings of the concept of parental alienation syndrome. Commonly invoked in court, this concept lends credence to the idea that, in conflictual separations, the parent who lives with the child – often the mother – could influence the child’s speech to the detriment of the other parent. Although now forbidden in professional writings, the parental alienation syndrome continues to permeate judicial decisions and influence magistrates and psychiatric experts.

Beyond this, we wanted each character to be able to defend his or her own truth, with realism, nuance and singularity. So we encouraged each actor to ask himself an essential question: what truth are you defending during this morning’s hearing?

Finally, as far as the judge in particular is concerned, we felt it was crucial to make her a progressive female figure, giving an egalitarian and prolonged voice to each speaker, while neutralizing power relations and intimidation. In our view, she also embodies the need for change in an institution like the justice system, where change, while possible, is often slow and complex.

VOA: Alice’s struggle is internal, yet the film manages to externalise her emotional state without excessive exposition. What specific cinematic techniques – whether through framing, sound design, or pacing – did you use to immerse the audience in her psychological turmoil?

As far as framing was concerned, one overriding rule quickly became apparent: the camera had to remain focused on Alice, while leaving plenty of room for the off-screen. During action scenes, where physical movement was present, it was she who dictated the camera’s movement, moving instinctively through space, unstoppable. Later, the editing process amplified this rhythm with a heightened nervousness.

For the waiting scenes and the court hearing, it was essential to give Alice as much access as possible to her inner struggle. We thought long and hard about how to stage the spoken word, and in the end chose to show its impact on the faces. To do this, we favored sustained listening shots, which we used in the editing to emotionally charge Alice for some thirty minutes before she was finally able to express herself. We also wanted the frame to gradually tighten on her, like a vise closing in.

In terms of sound, we worked in post-production to find a musicality that would embrace Alice’s inner tension, without ever overpowering the spoken word, which had to remain at the center of attention at all costs. To achieve this, we took a minimalist techno approach, looking for sounds that were both primitive and resolutely contemporary. Our composer, Lolita Del Pino, had the brilliant idea of adding this techno rhythm and sound to layers composed from accordion tones that she stretched and compressed, evoking a ribcage oppressed by anguish.

VOA: We Believe You serves not just as a personal story but as a broader social commentary. Were there real-life cases or testimonies that influenced the script, and did you consult legal or psychological experts to ensure authenticity?

The film was inspired by the experience of one of us, Charlotte, as a mother and nurse in a sexual health center in Paris, where many patients who have suffered sexual violence are treated. Together, we attended several hearings at the Tribunal de la Jeunesse, and deepened our research by reading, viewing, and listening to numerous testimonies. We also met victims and professionals involved in the fight against child sexual abuse, including judges, who were essential in helping us refine our view of the practice interview as depicted in the film. Finally, the professional lawyers we worked with played a crucial role in finalizing the script, helping us to make the situation in our film as accurate and fair as possible.

VOA: The film’s title is both a declarative statement and a challenge to societal norms. What do you hope audiences take away from this film, and do you see it as a call to action for legal reform, cultural change, or both?

For us, this title represents a dual stance: on the one hand, a desire to encourage viewers to pay greater attention to the words of children and protective mothers, and on the other, an act of support and recognition for all victims. “We believe you” is an appeal to us, as adults, to listen to and protect children’s words, without which they would shut up and not dare to speak out. When a child reveals the violence he or she has suffered, it takes immense courage. If their words go unheard or, worse still, are questioned, we shouldn’t be surprised if they lose confidence in the adult world.

From a legal point of view, we believe that it might be more appropriate to speed up proceedings in cases involving children, and above all to encourage better communication between the various authorities to reach a joint and swift verdict. It’s also important to train professionals in taking the children’s word for it.  We find it unacceptable to leave a child in the care of a parent who is known or suspected to be a sexual predator.

VOA: The title We Believe You is both a powerful statement of solidarity and a challenge to societal scepticism toward survivors. What impact do you hope this film will have on audiences, and how do you see it contributing to conversations about legal and cultural change?

There is an urgent need for all those involved in the legal, political, associative, and educational spheres to work together to deal with sexual violence. The figures are overwhelming, there are signals that we are capable of spotting, and we need to be able to act quickly. Every moment’s delay in protecting a child can have dramatic and lasting repercussions. We would also like to emphasise the importance of changing how the victims’ families are perceived and supported. Protective mothers are often the first to face the violence of the system while bearing the child’s suffering. To protect children, it is essential to help and protect the people who defend and support them daily. This must be taken into consideration from the earliest stages of the proceedings.

Written and interviewed by Maggie Gogler

Featured image courtesy of Charlotte Devillers and Arnaud Dufeys

_{View of the Arts is an online publication dedicated to film, music, and the arts, with a strong focus on the Asian entertainment industry. While we already offer rich content to our readers, we aim to expand our reach and grow alongside our audience by exploring Asian music in greater depth. At the same time, we remain committed to presenting the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that shape these industries worldwide.}