On Friday November 8 at 8:55 p.m., Arte broadcasts You won't have my hatred. A film inspired by a true story, taking place after November 13, 2015, in Paris.
On November 2, 2022, director Kilian Riedhof unveiled a meaningful film of particular significance. With the performances of Pierre Deladonchamps, Camélia Jordana, Thomas Mustin and the young Zoé Iorio, it deals intimately with the aftermath of November 13, 2015. We follow a journalist trying to find a way to overcome despair, after losing his wife. in the attack on the Bataclan. Rather than harboring destructive rage, he will shower his young son with immeasurable love.
You won't have my hatred : love takes over horror
This story is that of Antoine Leiris, having had to face the death of his wife, Hélène Muyal-Leiris, on November 13, 2015, in the Bataclan attack in Paris. Shortly after this tragedy, the journalist published an open letter on his social networks, entitled You won't have my hatred. A text which took the form of an eponymous book in 2016. Particularly touched by this work recommended by one of his close friends, Kilian Riedhof then chose to adapt it. In the press kit for his feature film, the filmmaker says: “It moved me deeply. As I had rarely been when reading a book. Perhaps because Antoine's life before the attack was very similar to mine. My daughter has almost the same age as Melvil, his son.”
You won't have my hatred : the writers had “tears in my eyes”
The project was then launched thanks to the support of its co-writers, Jan Braren and Marc Blöbaum, after reading several pages to them, as Kilian Riedhof explains: “They had tears in their eyes. And then we understood that we had to get started.” Wanting to stick very closely to Antoine Leiris' story, the director was nevertheless obliged to add an element of fiction to his adaptation. Note that this was only done in small steps: “It would have seemed dishonest to us to modify the substance of the story. It is a very poetic story, very subtle and touching. So we had to be extremely careful about it. Where it was necessary, we provided formal dramatization. The subplot with his family was added in order to make Antoine's inner transformation tangible.”
