Saint Omer (2022)

Saint Omer is a 2022 French legal drama film directed by Alice Diop and starring Kayije Kagame and Guslagie Malanda. It is based on the true story of Fabienne Kabou, a mother who left her 15-month-old daughter on a beach to be drowned by the tide in 2013. The film follows Rama (Kagame), a pregnant novelist who attends the trial of Laurence Coly (Malanda), the fictionalized version of Kabou, to write a modern adaptation of the ancient Greek myth of Medea, who killed her children to punish her unfaithful husband.

Saint Omer is a powerful and nuanced exploration of the complex issues of motherhood, immigration, identity, and justice. Diop, known for her documentaries, brings a realistic and empathetic approach to the story, avoiding sensationalism and judgment. She also attended the real trial of Kabou in 2016, which inspired her to make the film. The film does not attempt to justify or condemn Coly’s actions but rather to understand her motivations and circumstances.

The story is divided into two parts: the first one focuses on Rama’s perspective as she observes the trial and interviews Coly in prison, while the second one shifts to Coly’s flashback as she recounts her life in France and Senegal, her relationship with her partner and daughter, and her mental state leading up to the crime. The film contrasts Rama and Coly to highlight their similarities and differences as women of Senegalese origin living in France. Both face racism, sexism, isolation, and pressure from their families and society but have different privileges, opportunities, and choices.

The movie also draws parallels between Coly’s story and the Medea myth, showing how both women are driven by love, betrayal, anger, and despair to commit an unthinkable act. The film uses references to Medea throughout, such as the names of the characters (Rama is an anagram of Mara, Medea’s sister), the locations (Berck is similar to Corinth, where Medea killed her children), and the dialogue (Coly quotes lines from Euripides’ play). The film also shows how Rama uses the myth to cope with her fears and doubts about becoming a mother.

Saint-Omer features excellent performances from the two lead actresses, who convey a range of emotions with subtlety and intensity. Kagame portrays Rama as a smart, ambitious woman who is also vulnerable and conflicted. Malanda portrays Coly as a tragic and complex figure who elicits sympathy and horror. The film also has a strong technical aspect, with beautiful cinematography by Claire Mathon (who also shot Portrait of a Lady on Fire), an atmospheric score by Thibault Deboaisne, and tight editing by Amrita David.

The one thing that undermines the greatness of Saint-Omer is the pacing. The first time I watched the film, I found the pacing unbearable. But, I decided to see it a second time, embraced the slowness, and found I was noticing aspects of the story I had missed the first time. I think, though, that the pacing will be a challenge for some viewers.

Saint Omer is a film that challenges us to think beyond the headlines and stereotypes and confront our biases and assumptions. The film raises questions without giving easy answers and invites empathy without condoning violence. It is a film that shows how art can be a way to deal with trauma and pain and how it can be insufficient or inadequate. It is a film that was with me long after it ended — the second time around.

(In cinemas in Australia – check your local movie guide for show times.)