Belgian helicopter writer Laura Wandel made his debut in 2021, about two siblings in elementary school. She returns to the festival to open the critics’ week for her second feature “Adam’s sake.” It centers on a compassionate nurse, a sick child and his mother. Independent sale has rights.

What inspired the narrative?

I feel attracted to the world of the pediatric ward - actually another Belgian institution of Belgium, because it provides a beautiful representation of society and refers to the world of childhood. Institutions interested me because they are in most cases mini-worlds with hierarchical relationships, their own well-defined rules and laws that ultimately lead to systemic violence. I quickly felt the need to document and face reality by meeting with health care workers. … From there, I came up with the idea of ​​exploring the perspective of a pediatric nurse who faced the pain of her child, beyond the legal framework of her work to help him. Children's interests become the starting point for exploring moral and human conflicts.

Have you done a lot of research with the wonderful Léa Drucker who plays the senior pediatric nurse Lucy?

At first I did a lot of research myself. I spent several weeks watching a pediatric ward at a Brussels hospital, which allowed me to understand the entire social dimension that I felt and was interested in. I understand the full complexity of this industry. I can especially see how the medical, social and legal aspects are intertwined, and the well-being of children is actually inseparable from their relationship with their parents. Not long before the filming, I accompanied Lea to the same hospital so that she could observe and absorb the nurse’s gestures and attitudes. During the filming process, a nurse directs Léa throughout the scene…I want to show Lucy’s role as a warrior and highlight through her those who care for others are undermined by their working conditions.

Among your producers, Dardenne Brothers and its production company Les Films Du Fleuve are almost like the mark of excellence in the field of social film.

I met Dardenne Brothers, more specifically Luc Dardenne, at the Cannes Film Festival in 2014, when my short film was selected in the official competition. I then asked him to provide the "playground" on the script as well as the editor's feedback, and for me it seemed natural to have Les Films du Fleuve co-produce the next one. Luc Dardenne, who served as a script consultant for “Adam”, I would say that the reputation of their production company helped some financing.

What is the difference between mentoring professional actors and non-professional children?

This is a completely different way of working. For non-professional children, this is a long-term project that requires a lot of preparation. I find non-professional children are sometimes easier to direct because they are not aware of their performances and what they convey on screen. Working with professional actors can achieve results faster, but unlike children, professionals may have certain performance mechanisms and habits. It’s not always easy to get them out of these habits. Paradoxically, sometimes I find that a professional actor is not as manageable as a non-professional child.

Your two functions are clocked under 80 minutes. What do you think of the length of the movie?

As for my film, the short-term duration is not completely premeditated except for the hope that we feel the fanatical rhythm of health care workers. I feel like the movie was told in a fair way during that time. Rhythm is very important in my story, and it will ruin that rhythm in the slightest. It's a very difficult balance. Apart from the duration, for me, the most important thing is that the audience is trapped in the movie. I like this story without embellishment.

What's next?

The next step is to start researching my next movie because I plan to be inspired by real people. So I will read a lot and study their lives.