Belgian helmer-writer Laura Wandel nabbed Cannes’ Un Certain Regard prize in 2021 with her feature debut, “Playground,” about two siblings at primary school. She returns to the festival to open the Critics’ Week with her second feature, “Adam’s Sake.” It centers on a compassionate nurse, a sick child and his mother. Indie Sales has the rights.
What inspired the narrative?
I felt drawn to the world of pediatric wards — another Belgian institution, in fact — because it offers a beautiful representation of society and because it refers to the world of childhood. Institutions interest me because they are, for the most part, mini-societies with hierarchical relationships, their own well-defined rules and laws, which most often end up causing systemic violence. I quickly felt the need to go there to document and confront the reality on the ground by meeting with the health care staff. … From there, I came up with the idea of exploring the point-of-view of a pediatric nurse who, faced with the distress of a child, goes beyond the legal framework of her work to help him. The child’s interest became the starting point to explore the moral and human conflict.
Did you do a lot of research with the fantastic Léa Drucker who plays Lucy, the senior pediatric nurse?
I did a lot of research on my own at first. I spent several weeks observing in a pediatric ward of a hospital in Brussels, which allowed me to understand the inner workings and the whole social dimension that I sensed and was interested in. I understood the full complexity of this profession by being there. I was able to see, in particular, how intertwined the medical, social and legal aspects are, and how the issue of a child’s well-being is in fact inseparable from the relationship with the parent. Shortly before filming, I accompanied Léa for a day to the same hospital so she could observe and absorb the nurses’ gestures and attitudes. During filming, a nurse was on hand to guide Léa throughout the scenes … I wanted to show the character of Lucy as a warrior and, through her, highlight those whose vocation to take care of others is undermined by their working conditions.
Among your producers are the Dardenne brothers and their production company, Les Films du Fleuve, which is almost like a seal of excellence in the field of social cinema.
I met the Dardenne brothers, and more specifically Luc Dardenne, at the Cannes Film Festival in 2014 when my short film was selected in the official competition. I subsequently asked him for feedback on the script for “Playground” as well as the editing, and it seemed natural and obvious to me to ask Les Films du Fleuve to co-produce the next one. Luc Dardenne worked as a consultant on the script for “Adam’s Sake,” and I would say that the reputation of their production company helped with some of the financing.
What are the differences between directing professional actors and non-professional children?
It’s a completely different way of working. With non-professional children, it’s a long-term project requiring a lot of preparation. I find that non-professional children are sometimes easier to direct because they’re not yet aware of their acting and what they convey on screen. Working with a professional actor can be faster to achieve results, but professionals may have certain performance mechanisms and habits, unlike children. It’s not always easy to break them out of these habits. Paradoxically, I’ve sometimes found a professional actor less manageable than non-professional children.
Both of your features clock in at under 80 minutes. What is your perspective on film length?
As for my films, the short duration wasn’t entirely premeditated, apart from the desire for us to feel the frenetic pace of the health care staff. I felt that the film was told in a fair way within that duration. Rhythm is very important in my stories and the slightest second too long can disrupt this rhythm. It’s a very difficult balance to find. Beyond the duration, for me the most important thing is that the viewer is caught up in the film. I like it when stories get to the point, without embellishments.
What’s next for you?
The next step is to start researching my next film because I plan to be inspired by a real person. So I’m going to read a lot and research their life.
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