«Neither judge nor submissive»

Cinema Wednesdays - Loris S. Musumeci

«I can swear to you that the wrath of Allah is nothing compared to me.»

In her Brussels office, Judge Anne Gruwez deals with criminals ranging from the most pathetic to the most distressing. Yet her calm is always there, as is her sense of humor, tinged with authority and compassion. On good terms with the police, she happily drives to crime scenes in her Citroën 2CV. She asks each of them a multitude of questions, arousing both astonishment and admiration.

Anne Gruwez and Her «Clients»

Belgian filmmakers Jean Libon and Yves Hinant followed the investigating judge for three years. They wanted to offer their perspective on a judicial world directly connected to the human condition. Anne Gruwez allowed them to go much further, so surprising is she. The viewer discovers the stories of prostitutes, thieves, abusive husbands, and even an incestuous family; but also, the methodical way a judge handles his cases, sensing almost instinctively the right decision to make.

Anne Gruwez tests her «clients»—as she calls them—by sometimes playing the naive one, sometimes the teacher, and sometimes the detective. Those who come across as sly provocateurs are met with a healthy dose of biting sarcasm that silences them and makes them hang their heads. To the humble, she shows kindness, but never without a touch of humor. The entire room laughs, in fact, despite the criminal activity unfolding before their eyes. Neither judge nor submissive is undoubtedly made comical by the judge's extraordinary personality.

Respect for the living, defamation of the dead

While there is certainly a comedic element to the film, it would be legitimate to question whether it’s appropriate. Can we laugh at the world’s misery? The filmmakers seem quite clear on this issue, in that Anne Gruwez’s approach never descends into gratuitous mockery. Her zany or chilling responses serve to provoke judgment, raise awareness, and reveal the truth.

A technical choice complements the documentary’s dignity: the camera’s movement as it faces the judge. It frames the subject within a shot wide enough to allow her freedom of movement. As a result, Anne Gruwez sets the pace and tone of the footage. As a legal professional, she is familiar with the proceedings. In this way, she prevents the camera from capturing humiliating footage.

The respect shown to the living, however, is not extended to the dead. On this point, specifically, the film goes too far, crossing an ethical line and turning one’s stomach. Showing real photographs of corpses on screen—or, worse still, a corpse exhumed for an investigation—ruins a film that had managed to strike a balance between its entertaining and poignant elements. Furthermore, allowing a deranged mother who strangled her child to death to speak with impunity is certainly permissible as a means of laying bare reality, but it is in poor taste. Neither judge nor submissive could have taken a lighthearted approach, without succumbing to the obscenity of certain scenes.

«My goal isn't to kill you; you'll die on your own if you don't behave.»

Write to the author : loris.musumeci@leregardlibre.com

Photo credit: © Praesens-Film