LE PROCÈS GOLDMAN

“We were quite methodical with Nathalie Hertzberg. First, we reconstructed the structure of the trial based on newspaper articles, checking them against one another to be as precise as possible. Then, we reconstructed the drama of the trial by putting the testimonies in the order that we felt was the most pertinent. […] But we also needed the viewers to follow the trial like an investigation. It’s an immersive experience, the viewer needed to be placed in the position of a jury member who’d have a maximum of information to form their own conviction. Like an internal debate about the fact that conviction and point of view change with every new word spoken. (Cedric Kahn, interview by Fabien Lemercier, Cineuropa.org)

Cédric Kahn started out as an assistant editor for Maurice Pialat’s Under the Sun of Satan and then directed his first short film Les Dernières Heures du millénaire in 1990. Two years later, his first feature film Bar des rails premiered at the Angers European First Film Festival and was then presented at the International Critic’s Week in Venice. He then received the Jean Vigo Prize with his next film Too Much Happiness in 1994 and the Louis-Delluc Prize with Boredom in 1998. In 2001, Roberto Succo was presented in the official selection of the Cannes Film Festival. He then directed Red Lights, which was presented at the Berlinale in 2004. In 2014, he won the Special Jury Prize at the San Sebastián Film Festival for Wild Life and in 2018, his lead actor Anthony Bajon won the Silver Bear for Best Actor at the Berlin Film Festival for the film The Prayer.