Built around many archives, often unpublished, original caricatures by Rita Mercedes (specialist in writer's caricatures), readings of texts by Camus and Sartre, the film departs from the marked paths of the usual documentary-fiction and takes an original form which renews the genre, which has not failed to be underlined by the press: the characters of Camus and Sartre are evoked by shadows that evolve in period settings ... central theme of the film, still relevant today as Annick Cojean underlined when presenting the film: the legitimization of violence. It was on this issue, through the divergent positions they took on the legitimization of the gulags, that their friendship broke. The screening of the film was an opportunity, for the first time and on a large scale, in the newspaper L’Humanité to get closer to Camus, until then reduced to the rank of anti-communist.
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6.8/10Built around many archives, often unpublished, original caricatures by Rita Mercedes (specialist in writer's caricatures), readings of texts by Camus and Sartre, the film departs from the marked paths of the usual documentary-fiction and takes an original form which renews the genre, which has not failed to be underlined by the press: the characters of Camus and Sartre are evoked by shadows that evolve in period settings ... central theme of the film, still relevant today as Annick Cojean underlined when presenting the film: the legitimization of violence. It was on this issue, through the divergent positions they took on the legitimization of the gulags, that their friendship broke. The screening of the film was an opportunity, for the first time and on a large scale, in the newspaper L’Humanité to get closer to Camus, until then reduced to the rank of anti-communist.
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