Laura Wandel Digs Into Health Care, ‘Warrior’ Nurses and Pediatric Patients With Dardennes Brothers-Backed ‘Adam’s Sake’

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The Belgian filmmaker-author Laura Wandel received the Un Certain Regard prize at Cannes in 2021 for her first feature film, “Playground,” which focuses on two siblings attending primary school. This year, she returns to Cannes to open Critics’ Week with her second movie, titled “Adam’s Sake.” The story revolves around a caring nurse, a sick child, and his mother. Indie Sales holds the distribution rights for this film.

What inspired the narrative?

I was compelled towards the realm of pediatric units – another Belgian establishment, in truth – as it provides an enchanting depiction of society and serves as a symbol for childhood. Institutions fascinate me due to their characteristic traits as small-scale societies, characterized by hierarchical dynamics, unique regulations, and often leading to systemic cruelty. My instinct led me towards this environment to chronicle and engage with the raw truth by interacting with healthcare professionals. This initial encounter inspired me to delve into the perspective of a pediatric nurse who, in response to a child’s distress, transcends the professional boundaries of her role to aid them. The child’s wellbeing served as the foundation for examining the ethical and human dilemmas that ensued.

Did you extensively study, alongside the talented Lea Drucker portraying Lucy, the experienced pediatric nurse?

Initially, I embarked on independent study, spending multiple weeks immersing myself in a pediatric ward at a hospital in Brussels to gain insights into the intricate workings and profound social dynamics that captivated me. This hands-on experience provided me with a comprehensive understanding of this profession. I witnessed firsthand the intricate interplay between medical, social, and legal aspects, as well as the indivisibility of a child’s welfare from their parental relationship.

Just before shooting, I joined Léa for a day at the same hospital to help her familiarize herself with the nurses’ actions and demeanor. During production, a nurse was always present to guide Léa through each scene… My intention was to portray Lucy as a warrior figure, using her character to bring attention to those whose calling to care for others is compromised by their working conditions.

“I’m fortunate to be associated with some remarkable filmmakers, including the Dardenne brothers and their esteemed production company, Les Films du Fleuve. Working under their banner feels like a stamp of quality for socially-focused films.”

In 2014, I crossed paths with the Dardenne brothers, particularly Luc Dardenne, at the Cannes Film Festival. My short film had been chosen for the official competition that year. During our encounter, I sought his advice on the script for “Playground” and editing techniques. It felt intuitive and appropriate to invite Les Films du Fleuve to collaborate on the next project. Luc Dardenne served as a script consultant for “Adam’s Sake,” and I believe that the prestige of their production company played a role in securing some financing for our film.

What are the differences between directing professional actors and non-professional children?

Working with non-professional kids is quite distinct from working with professionals. Long-term dedication and thorough planning are crucial for this endeavor. The advantage here is that these children are usually unaware of acting techniques or the impact they create on screen, making them easier to guide. Conversely, working with seasoned actors can yield quicker results, but their established performance mechanisms and habits may pose a challenge. At times, I’ve found it more challenging to break professionals out of these routines than to manage non-professional kids.

Both of your features clock in at under 80 minutes. What is your perspective on film length?

Regarding my films, the brief running time wasn’t entirely planned, but rather an intentional choice to convey the frantic atmosphere of healthcare workers. I believe the story was effectively told within that duration. Rhythm plays a crucial role in my narratives, and even a moment too long can disrupt this flow. It’s a delicate balance to maintain. Above all else, for me, it’s essential that the audience is fully immersed in the film. I prefer stories to be straightforward and concise, without unnecessary details.

What’s next for you?

The following move involves delving into the research for my upcoming movie, as I intend to draw inspiration from a genuine individual. This will involve extensive reading and investigation into their life story.

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2025-05-14 10:36