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UN JOUR DE GRâCE
By Rutger Oosterhoff 2
SYNOPSIS:
France, 1981
On the eve of France's final execution before the abolition of the guillotine, a silent Parisian mime recognizes the face of a condemned woman in the newspaper—Claire, the only person who ever showed him kindness.
As dawn approaches and the city sleeps, he races against time through the rain-slicked streets of Paris, armed with nothing but sketches, fragments of lost evidence, and memories.
Piece by piece, the mime uncovers a long-buried political scandal implicating powerful men and revealing Claire’s wrongful conviction. With help from Martine, a retired journalist haunted by the past, he infiltrates archives, revives forgotten voices, and forces the system to confront its silence.
But justice in the Republic has a deadline. And Claire is already dressed in black.
In a final act of defiance, the mime breaks through the gates of the prison just as the blade is about to fall—offering not just a stay of execution, but a gesture of grace that echoes across decades.
UN JOUR DE GRÂCE is a haunting political thriller told through near-silence, shadows, and the enduring power of one human connection.
UN JOUR DE GRâCE
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Sounds very interesting, Rutger, and the poster is great. Good luck.
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Wow Rutger Oosterhoff 2 - great premise!
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Hi Leonardo, I was watching "Two Women"
"Two Women
In 1965, Monique Case, who claimed her moral freedom, was wrongly accused by misogynist cops. She will be saved from the guillotine by a shy and reserved examining magistrate who chooses to rebel against the machismo of the judicial hierarchy and of the time."
Then I asked myself what if such sort of story happened just before the death penalty was abolished? I can only have good ideas if something triggers me, they don't pop-up out of nowhere.
In general, it is hard to make a French noir film that makes its money back , especialy with the extra costs shooting a period piece reflecting the year 1981,
Shooting in modern Paris is tough, but doable with a clear visual strategy, smart locations, and a controlled shooting style. The film’s intimate, tense story actually helps—it doesn’t rely on big crowd scenes or massive street action. Use narrow alleys, small squares, back streets that haven’t changed much: Montmartre, Belleville, parts of the Marais.
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Sounds like you have a great strategy there Rutger Oosterhoff 2.
... Let's just say, the 'star't of a somewhat 'ok' strategy, Leonardo. But at least ideas still keep coming, although not as fast as they used to.
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Thanks for rating Heidi!
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Thanks for rating, Ryan.
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Thanks for rating Jane!
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Thanks for rating Tasha and Julien!
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Thanks Dwayne!