Pupil (2018)

Directed by: Jeanne Herry | 105 minutes | drama | Actors: Sandrine Kiberlain, Gilles Lellouche, Élodie Bouchez, Olivia Côte, Clotilde Mollet, Jean-François Stévenin, Bruno Podalydès, Miou-Miou, Leïla Muse, Stéfi Celma

What is actually involved with the adoption of an unwanted child? Who are involved? And how are they involved? The film ‘Pupille’ tries to answer these questions.

The film opens with a scene in which a rather taken aback by adoptive mother (Alice) is told that she can adopt Theo. Theo is two and a half months old and unwanted. And just when it is expected that the film will tell the story of their bond and adventure, the story takes a step back in time. In ‘Pupille’ we see all the drives that are set in motion from the moment the biological mother takes her first steps in the hospital, until the moment Theo is safe and sound in bed with Alice.

The plot of ‘Pupille’ is therefore not so much relevant as a construct to create tension. The film mainly wants to exhibit. First of all, it shows who takes care of the child (and there are quite a few). Second, it shows the involvement of such people and also shows that those people also have their own lives and additional problems. The danger of a rather boring film is certainly lurking, but by regularly returning to the little “protagonist” Theo, it becomes increasingly clear what the interests are at stake.

These interests are passionately represented by, among others, a social worker, a family assistant, a child psychologist and an adoption counselor. And all roles are portrayed credibly, although one has a larger share than the other. We follow family assistant Jean and child psychologist Karine most frequently. Jean has Theo at home for the first few months with the aim of ensuring a good warm bond. And he does so with gusto. That this is credible is mainly due to the good acting of Gilles Lellouche, who makes Jean a very passionate man who is tired of all the other trajectories he has guided and finds new energy through Theo. His playing in combination with the acting of Sandrine Kiberlain (Karine) carries this film and ensures that the human side and the toll of the work is also well exposed.

That leaves the question of whether a documentary would not have been the better form of storytelling. Yes and no. The reality will always be rawer than this fictional story and that may overlook the exhibiting nature. In addition, you will not be able to get that close in real situations (if only for the privacy of the child) and that will involve the viewer less in a very relevant story. In order to arouse compassion for the process, the right form with the right players has been chosen in this case, resulting in an impressive and honest film.