“The True Family” of foster care haunted by separation

• "La Vraie famille", awarded at Angoulême, is a moving film about a mother and a child whom she must return to her biological father.

• Mélanie Thierry finds her most beautiful role in this sensitive film.

• Director Fabien Gorgeart thought of "ET" and was inspired by his own childhood to tell this announced separation.

We understand that she can crack, Mélanie Thierry, when she has to return the child that Social Assistance has entrusted to her for almost five years to her biological father. 

by Fabien Gorgeart, awarded at the Angoulême Festival, is inspired by an experience lived by the director of

.

“This little boy arrived in our family at the age of 18 months and left at 6 years old, confides the filmmaker to

.

I was 10 years old at the time and it took me a long time to write the screenplay as this period marked me.

It is around this announced departure that the director articulates a story that is all the more poignant in that there is nothing Manichean about it.

Between memories and imagination

“I drew on my memories but I no longer know very well what really happened and what is the fruit of my imagination”, insists Fabien Gorgeart.

He offers his best role to Mélanie Thierry, crowned in Angoulême, whom he sees as a cocktail between his mother and Meryl Streep.

The boy's father (Félix Moati) like the heroine's husband (Lyes Salem) surround this woman who must unlearn how to be the mother of the little boy entrusted to her.

“This story is a drama, not a tragedy, specifies the filmmaker.

I think my film is more like

than a social chronicle.

As in Steven Spielberg's film, the viewer knows separation is inevitable, even desirable for both parties, but that doesn't stop it from being heartbreaking.

Handkerchiefs are not superfluous during the projection.

Like a crumpled sheet

The True Family

questions the importance of blood ties with great sensitivity.

“My mother recovered from this trauma which allowed us to build ourselves, recognizes Fabien Gorgeart.

It's a bit like a crumpled sheet of paper: when you unfold it, it's not torn, but there are marks left.

Moments of luminous family happiness, such as the gradual tearing of the child's return to his widowed father, sufficiently recovered from his mourning to recover him, are marked with the seal of modesty.

“In real life, I never saw the little boy again, but I partly made the film so that he would know that he had not been forgotten.

I would like whoever sees him and contacts me, although I can understand if he doesn't want to.

is overflowing with love and generosity

.

We are happy to have been part of it.

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