LFF 2011 Diary, Day 10 - GUILTY

LFF 2011 Diary, Day 10: Guilty (Rating: ****) When an innocent man, Alain Marecaux, is embroiled in a police investigation into a paedophile ring, his life quickly becomes a living hell. After an extended period in custody and a prolonged court trial, Alain is lef physically frail, broke and alone. Adapted from the Alain Marecaux’s own journal, Guilty is a shocking true-life story with an incredible central performance

by Philippe Torreton whose physical transformation for this role is simply jaw-dropping. Thanks to an at times simply unbelievable story of judicial miscarrages, the downward spiral Alain Marecaux endures is even more difficult to watch. And by evoking one of the most basic human fears - being accused of something you didn’t do - Guilty becomes a transcedent film by putting the audience in the shoes of a man who has lived that nightmare we all hope won’t become reality.

As you might expect, Guilty is not an easy watch. The film is stark in its bleakness of Alain’s life in custodial limbo, never sure if he will even get a trial let alone see his family again. As the French title, Presume Coupable, would suggest, Alain’s case is the role reversal of correct judicial procedures. At no time is Alain presumed innocent until proven guilty by police officials, and to some extent friends and family. Such is the taboo of child abuse and paedophilia that Alain is hounded by for a confession and stigmatised as a sex offender despite his innocence.

Some may feel there is little point is watching a film that merely documents the horror of one man’s existence. Director Vincent Garenq however is bold in his vision of this story, never once urring on the side of melodrama or a Hollywood prison/court drama. Guilty is a film that is more ‘matter of fact’ than a tale of redemption. For a man like Alain who has lost so much, what is there left for him?

Experienced stage actor Philippe Torreton turns in what is too often described as an extraordianry performance. But the lengths at which Torreton involves himself in the role is reminiscent of the commitment of devoted actors such as Christian Bale and Natalie Portman who drastically altered their physiques for their repective roles in The Machinist and Black Swan. By the very end Guilty has you questioning how France’s judicial system could fail people such as Alain so grievously, as well acting as a reminder that the idyllic life that people build for themselves can be shattered at any moment. JJ