Toi non plus tu n'as rien vu, the legal thriller starring Géraldine Nakache: review and trailer

Toi non plus tu n'as rien vu recounts a unique legal case. Béatrice Pollet 's film is based on a true story, and features actresses Géraldine Nakache and Maud Wyler. Scheduled for release on March 8.

The trailer for Tu non plus tu n'as rien vu

This inextricable story is that of Claire (Maud Wyler), who wakes up in hospital after being found bleeding by her husband. She has no memory of what happened. The police tell her thatshe gave birth to a baby and abandoned it on a garbage can, before arresting her for attempted homicide. But Claire knows she wasn't pregnant. So begins a legal crusade to prove her innocence.

Director Béatrice Pollet's film is a real subject. A fascinating subject, which she treats wonderfully, and which is rarely seen in cinema: the denial of pregnancy, and its consequences. For Claire, and her friend and lawyer Sophie (Géraldine Nakache), that fateful night remains incomprehensible. Is it possible that her discernment has disappeared, and that this supposed attempt on her life was not her fault? That's the question the film sets out to answer.

The film's tragic, poignant and delirious dimension is revealed in its attempt to answer these questions. Everything and its opposite is said, stirring up the suffering of the family concerned, as much as that of the viewer. In its search for the truth, justice, embodied by a ruthless prosecutor(Ophelia Kolb), is systematically cruel and uncomfortable.

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By being so focused on its characters and subject, the staging effects are discreet, the aim here being to paint a portrait of a woman, in all her nuances. The latter says a lot about the place of women, and the way we instrumentalize their bodies. Toi non plus tu n'as rien vu plays heavily on the idea that others - and especially men - know better than the protagonist what's going on inside her own body.

It's a fine echo of Saint Omer, released a few months ago, which also dealt with the trial of a woman accused of infanticide. Both films brilliantly evoke a new form of consent, and the importance of women's voices.

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