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Les Diables
Les Diables
Les Diables
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Les Diables
Theatrical poster
Directed byChristophe Ruggia
Written byOlivier Lorelle
Christophe Ruggia
Produced byBertrand Faivre
StarringAdèle Haenel
Vincent Rottiers
CinematographyÉric Guichard
Edited byTina Baz-Legal
Music byFowzi Guerdjou
Distributed byOcéan Films
Release date
  • 11 September 2002 (2002-09-11) (France)
Running time
105 minutes
CountryFrance
LanguageFrench

Les Diables (The Devils) is a 2002 French drama film from director Christophe Ruggia[1] starring Adèle Haenel and Vincent Rottiers.[2]

Plot

[edit]

Joseph is a 12-year-old boy running from a series of children's homes with his autistic sister, Chloé, in tow. Chloé cannot bear to be touched and follows only Joseph's commands. Joseph is fiercely protective of her as they seek to find their way to the parents he believes abandoned them and who they never knew. They cling to a false memory of a picturesque house, which Chloé is able to construct using pieces of colored glass she carries. Their latest attempt soon fails when they are caught and returned to yet another care home. Joseph immediately steals from room-mates and demands the two be left alone. Chloé makes progress, however, with her carer, who assesses her condition and improves her care. Joseph resents this interference while his theft is discovered by his roommate, Karim, who develops a begrudging respect for him. Their situation worsens when a figure from their past appears and reveals a secret which enrages Joseph who lashes out and flees again with Chloé.

Pursued through Marseilles as Joseph continues to steal, Chloé is determined to find the home she pictures so vividly. They meet up with Karim, who has also run away and has big plans about how he and Joseph can make money. Chloé leads them to a house she believes to be home. They break in and, while Karim robs it, Chloé lovingly embraces her new surroundings. Joseph sees a threat in this and sets fire to the house. Chloé and Joseph share a moment where for the first time she allows Joseph to take her hand as reassurance she will not leave him. The police arrive, with Joseph hysterically dragged away while Chloé is placed in a secure psychiatric facility. Without Chloé, Joseph descends further into depression and violence, even attempting suicide. His life is saved by Karim, whose gang attack Joseph's accompanying officers and free him. Karim knows where Chloé is detained and the gang continues vandalizing on the journey.

Joseph frees Chloé and they hide in a city tunnel. Joseph pledges to make money and buy her a home, again stealing. Stopped by the police one night, Joseph stabs one and escapes the pursuit. He returns to his hideout only to find that Chloé has torn up the money he has acquired. Police arrive and they escape again, though Joseph is injured. Joseph asks for help at a house claiming he was in an accident. The film ends with Chloé and Joseph playing on the garden swing.

Cast

[edit]

Production

[edit]

Director Christophe Ruggia said the love scene between Adèle Haenel and Vincent Rottiers took them just enough time to shoot it: there is only one take.[3]

In 2019, Haenel gave an interview claiming that director Christophe Ruggia had sexually harassed her, including unwanted touching and kisses, from the time she was 12 to 15 after casting her in the film.[4] Several crew members stepped forward to support her accusations and to say that Ruggia had purposefully isolated Haenel and treated her inappropriately during filming.[5][failed verification] In 2020, Ruggia was officially charged with sexually harassing Haenel. In 2025, he was convicted of sexual assault on a child.[6]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Les Diables

View on Grokipedia
from Grokipedia
(English: The Devils) is a 2002 French drama film written and directed by , depicting the harrowing odyssey of two young siblings, and the non-verbal , who are abandoned by their mother and repeatedly flee institutional care to pursue their absent father across , relying on petty and resilience to endure street life. The narrative draws from real-life observations of marginalized youth, emphasizing raw survival amid familial neglect and societal indifference without romanticizing their plight. Starring as the resourceful but volatile Joseph and as the psychologically withdrawn Chloé in her debut at age 12, the film garnered critical acclaim for its unflinching portrayal of childhood vulnerability and Haenel's breakthrough performance, which earned her the César Award for Most Promising Actress in 2003. Additional recognition included the Prix Tournage at the 2002 International and the Le Award for Best at the 2003 /New York . With a runtime of 105 minutes, Les Diables explores themes of sibling loyalty and the failures of child welfare systems through stark, documentary-like visuals captured by cinematographer Éric Guichard.

Synopsis

Plot Summary

Les Diables centers on the siblings and Chloé, both approximately 12 years old, who have been abandoned by their parents and shuttled between foster homes and institutions since infancy. , the protective younger brother, cares for his nonverbal sister Chloé, who is withdrawn, averse to physical contact, and heavily reliant on him for communication and daily needs. After years of instability, the pair repeatedly escape their placements, driven by Joseph's determination to locate their and reunite the family. Caught stealing to survive during one such flight toward , they are recaptured and admitted to a specialized home for disturbed children. There, begins to respond to psychiatric intervention, showing tentative progress in her condition, which prompts Joseph to remain despite his instincts to flee again. Tensions escalate when their mother unexpectedly reappears, seeking to reclaim Joseph but excluding Chloé, leading to profound emotional turmoil for the siblings. Unable to endure separation, Joseph orchestrates another escape with Chloé, embarking on a desperate journey that underscores their unbreakable bond amid ongoing hardship and institutional constraints.

Cast and Characters

Principal Performers

stars as , the deformed prioress of the Ursuline convent in whose obsessive desires fuel the of supposed demonic possessions among the nuns. Her , marked by intense physical contortions and emotional volatility, captures the character's descent into fanaticism and delusion. Oliver Reed leads as Urbain Grandier, the charismatic and libertine priest whose political and religious independence provokes his enemies, culminating in accusations of sorcery and his brutal execution. Reed's portrayal emphasizes Grandier's defiance and sensuality, drawing on historical accounts of the real figure's trial in 1634. appears as Baron Jean-Louis de Mignon, the governor of whose personal grievances against Grandier contribute to the priest's downfall. plays Father Joseph, Cardinal Richelieu's confessor, representing the centralized church authority that sanctions the exorcisms and interrogations. These roles underscore the film's exploration of power dynamics between local figures and state-sanctioned inquisitors.

Supporting Roles and Character Dynamics

In Les Diables, supporting roles primarily consist of adult authority figures and peers encountered during the siblings' institutionalization, serving to contrast the protagonists' insular bond with external impositions. Aurélia Petit portrays 's mother, whose belated attempt to retrieve only after years of abandonment ignites conflict, as he prioritizes his protective devotion to over familial reconciliation, reinforcing the film's exploration of neglect's lasting scars. Jacques Bonnaffé plays Doran, a care home staff member involved in the children's oversight and treatment protocols, embodying the bureaucratic detachment of that inadvertently heightens Joseph's resistance to separation from his . Rochdy Labidi depicts Karim, Joseph's in the detention facility, who uncovers Joseph's theft—likely aimed at facilitating escape—introducing peer-level friction and underscoring survival-driven mistrust within the confined environment. These dynamics highlight causal tensions: the siblings' interdependence, honed by parental , repeatedly overrides adult interventions, as institutional figures like Doran prioritize structured rehabilitation while peers like Karim reflect opportunistic alliances that falter under pressure. Joseph's unyielding guardianship of the psychologically withdrawn remains paramount, rendering supporting characters as catalysts for evasion rather than integration.

Production

Development and Writing

The screenplay for Les Diables was co-written by director and Olivier Lorelle. The narrative draws inspiration from Ruggia's own , particularly his encounters with two friends who had grown up in a youth home, shaping the film's exploration of sibling bonds amid institutional neglect and personal isolation. Ruggia conducted two years of research on autism prior to production, informing the portrayal of the protagonist Chloé's condition without explicitly labeling it as such in the script, to emphasize broader themes of rather than clinical . This non-scientific approach aimed for a hyperrealistic depiction reflective of adolescent perceptions, avoiding while incorporating feedback from autistic individuals and endorsement from the French Federation of Autistic Children. The writing process prioritized emotional authenticity over conventional plot resolution, focusing on the characters' raw survival instincts and rejection of adult-imposed structures.

Filming and Locations

Principal photography for Les Diables took place from July to September 2001. The production utilized 47 distinct sets across multiple locations in France, primarily within the Auvergne-Rhône-Alpes region. Filming in the Rhône department centered on Lyon, encompassing neighborhoods including Croix-Rousse, Perrache, and Montluc, along with the Hôpital du Vinatier psychiatric facility. Nearby sites in Villeurbanne and Rillieux-la-Pape also featured in the shoot. Additional locations extended to the department, where scenes were captured in Trévoux and Parcieux. In the Drôme department, production filmed at Valaurie, Châteauneuf-de-Bordette, Bellecombe, Pierrelatte, and Donzère. Sequences were further shot in , situated in the region. These diverse urban, suburban, and rural settings supported the film's narrative of the protagonists' nomadic existence following their escape from institutional care.

Post-Production and Editing

The of Les Diables involved by Tina Baz-Legal, who shaped the raw footage from into a cohesive 105-minute focused on the siblings' perilous journey. The process emphasized the 's intimate, unpolished aesthetic, aligning with director Christophe Ruggia's intent to capture authentic emotional vulnerability without overt sentimentality. and mixing were completed to underscore the isolation and urgency of the protagonists' experiences, though specific technical credits beyond core editing remain sparsely documented in production records. The original musical score, composed by Fowzi Guerdjou, was integrated during this phase to heighten dramatic tension through minimalist cues. Final wrapped in time for the 's debut screenings at international festivals in September 2002, including the .

Release and Commercial Performance

Premiere and Festivals

Les Diables premiered theatrically in on September 11, 2002. The film was selected for the Zabaltegi-New Directors section of the 50th , held from September 19 to 28, 2002. It also screened at the International Festival of Francophone Film later that year. In November 2002, Les Diables won the Main Award at the Mannheim-Heidelberg International Film Festival. The following year, it received the Best French Feature award at the 9th /New York Film Festival. It further screened at the in January 2003.

Distribution and Box Office Results

Les Diables was released theatrically in on , 2002, handled by distributor Océan Films. The rollout emphasized art-house cinemas and festival circuits rather than wide commercial release, aligning with the film's independent production and thematic focus on social marginalization. International distribution remained sporadic, with screenings at events like the and limited exports via sales agent . Box office performance proved underwhelming, indicative of constrained and niche appeal. Precise French spectator counts are not comprehensively documented in , but opening metrics revealed scant initial traction, including 96 entries across early screenings. Globally, reported earnings totaled around $52,047, primarily from selective markets. In , the film registered minimal uptake, with only 175 admissions recorded. These figures highlight the production's prioritization of artistic merit over broad commercial viability, amid a favoring higher-budget spectacles.

Critical and Public Reception

Initial Reviews and Themes

Upon its release in on , 2002, Les Diables received generally positive initial , with praise centered on the raw authenticity of its child performances and its unflinching depiction of institutional neglect. Critics highlighted the film's emotional intensity and the compelling sibling dynamic between protagonists and , noting how director captured the ferocity of their survival instincts without sentimentality. For instance, a Winter 2003 Filmmaker Magazine commended the "extraordinary young actors" and for carrying the film's harrowing portrait of children navigating a hostile adult world, emphasizing Ruggia's refusal to explicitly diagnose Chloé's condition as autism to avoid reductive labeling. Aggregated scores reflected this, with reporting an 82% approval rating from 13 early reviews, describing it as an "emotionally rich, intense" character study of abandonment and resilience. However, some reviewers critiqued the film for veering into excessive brutality and histrionics, particularly in its latter half, which undermined its initial realism. A 2003 assessment on FrenchFilms.org argued that while the setup evoked poetic truth in the siblings' flight from care facilities, thriller-style violence depleted its charm and , rendering the narrative shocking for the wrong reasons. Similarly, a release review in The Guardian in April 2004 labeled it "culpably awful," faulting Ruggia's direction for a "wince-inducingly misjudged" portrayal of Chloé's mutism and aversion to touch, which prioritized discomfort over nuance. These dissenting voices, though fewer, pointed to potential overreach in dramatizing child vulnerability, contrasting with broader acclaim for its unsparing . Thematically, Les Diables centers on the quest for familial reconnection amid systemic abandonment, portraying Joseph and Chloé—siblings aged around 12, with Chloé exhibiting severe psychological disability including muteness and haphephobia—as repeatedly failed by indifferent authorities and foster placements. Ruggia weaves in critiques of bureaucratic inertia and the dehumanizing effects of institutional care, as the pair escapes multiple facilities in a dystopian odyssey across France, surviving through Joseph's protective aggression and opportunistic theft. The film underscores the primal, codependent bond between the siblings, which strains under survival pressures and hints at taboo intimacy, evoking a distorted coming-of-age marked by despair, fleeting hope, and the erosion of childhood innocence. Early analyses noted its avoidance of didacticism, instead privileging visceral realism to expose the fragility of unsupported youth, though some observed how this intensity borders on exploitative in depicting Chloé's otherness. Overall, themes of resilience against societal neglect dominated discourse, positioning the film as a stark indictment of adult failures in safeguarding the vulnerable.

Awards and Recognition

Les Diables was awarded the Prix Tournage at the Avignon International Film Festival in 2002 for its technical achievements in production. In 2003, it received the Le Roger for Best Feature at the Avignon/New York Film Festival, recognizing its overall artistic merit. The international jury at the Mannheim-Heidelberg International Filmfestival selected it as Best Film in November 2002, praising its portrayal of vulnerable youth. The film's young protagonists, and , garnered early critical notice for their raw, naturalistic performances as the abandoned siblings Chloé and Joseph, which were highlighted in festival commendations despite the lack of major national awards like the César. It competed in sections such as New Directors at the , underscoring its recognition as a promising debut feature amid international circuits focused on emerging cinema.

Long-Term Critical Reassessment

The conviction of director on February 3, 2025, for sexually assaulting during the 2001 filming of Les Diables and in subsequent years has fundamentally altered scholarly and critical perspectives on the film. The court imposed a four-year sentence, with two years suspended, after finding that Ruggia, aged 36 at the time of initial contact, groomed and abused the 12-year-old Haenel through repeated inappropriate touching and isolation tactics, including private post-shoot visits to his home. This judicial validation of Haenel's 2019 allegations—detailed in investigative reporting as a "system of hold" beginning on set—shifts focus from the film's thematic exploration of feral siblings to the documented exploitation enabling its central performances. Initial post-release reviews from 2002–2004 were divided, with aggregate scores reflecting modest approval (82% on from 11 critics) for the raw intensity of child actors and Haenel in portraying abandonment and survival, yet harsh dismissals like The Guardian's characterization of it as "culpably awful" due to contrived histrionics. Over two decades, pre-scandal retrospectives occasionally highlighted its festival circuit presence (e.g., 2002) and influence on French , but rarely elevated it to canonical status amid critiques of melodramatic excess. The 2025 verdict, however, introduces causal scrutiny: Haenel's mute, vulnerable role as autistic —praised for authenticity—now invites examination of whether directorial contributed to its emotional authenticity, as prosecutors outlined a "progressive hold" mirroring the film's themes of dependency. This reassessment aligns with #MeToo-era reckonings in cinema, framing Les Diables as a cautionary case of unchecked adult authority over minors, rather than unalloyed artistic debut for its stars. Haenel's subsequent career ascent, including César nominations, contrasts with her public disavowal of the experience, amplifying debates on separating art from abusive origins—though empirical evidence of harm precludes neutral viewing. French industry analyses post-trial emphasize systemic failures in 2000s child protections, diminishing the film's cultural footprint amid calls for retrospective ethical audits of similar productions. Ultimately, while technical merits persist in isolated viewings, the production's verified misconduct renders long-term acclaim untenable, prioritizing victim testimony over directorial intent.

Allegations of On-Set Misconduct

In November 2019, actress publicly accused director of and assault during her time as a child performer on the set of Les Diables, where she portrayed the autistic sister Joséphine at age 12. Haenel alleged that Ruggia, then 36, initiated unwanted physical contact, including repeated kisses on the mouth and inappropriate touching, starting midway through in 2001 and continuing through post-production and promotional activities until she was 15. She described Ruggia isolating her from family and crew, fostering a possessive dynamic that blurred professional boundaries, such as inviting her to his home for private visits involving treats like white chocolate biscuits and , which she later characterized as grooming tactics. Haenel detailed in interviews that the misconduct occurred both on set—amid the film's intense scenes depicting sibling —and off set, with Ruggia leveraging his authority to demand compliance, including pressuring her to maintain secrecy. She emphasized the film's production environment enabled the behavior, noting a lack of oversight for child actors despite the presence of other cast and , whom she claimed were aware but did not intervene. Ruggia has consistently denied the allegations, describing them as fabrications amplified by media like and framing the accusations as a "Stalinist " without evidence of physical assault. No contemporaneous complaints from other Les Diables cast or crew have surfaced regarding similar on-set misconduct by Ruggia, though Haenel's account prompted broader scrutiny of child welfare in French cinema productions from the era. The allegations, first detailed in a investigation, led Haenel to file a formal in , highlighting systemic failures in protecting minors on film sets.

Investigation, Trial, and Verdict

In November 2019, publicly accused director of repeated sexual advances and harassment toward her during the filming of Les Diables in 2001, when she was aged 12 to 15, including kisses on the mouth and declarations of love that created an abusive dynamic. These allegations, detailed in an interview with investigative outlet , prompted French authorities to open a preliminary investigation into claims of on a minor by a person in authority. On January 14, 2020, Ruggia was placed in police custody for questioning, after which prosecutors charged him with of under 15 years old, committed by an adult in a position of authority over the victim. Ruggia denied the accusations, with his legal team asserting that any interactions were paternal and non-sexual, and the investigation proceeded amid broader #MeToo discussions in French cinema, though Haenel emphasized the case's focus on individual accountability rather than industry-wide reform. The probe involved witness testimonies from set members and examination of production records, but no additional complainants emerged beyond Haenel. The trial began in a criminal in late 2024, with proceedings spanning several days in and , where Haenel testified about the psychological grooming and isolation tactics used by Ruggia, while he maintained his innocence, describing the claims as a "media construct." Prosecutors requested a five-year term—three years suspended and two with an electronic monitoring bracelet—citing the of and lasting trauma to the victim, supported by expert psychological evaluations. Ruggia's defense argued insufficient evidence of physical assault and highlighted the 18-year delay in reporting, but the weighed the credibility of Haenel's consistent account against Ruggia's denials. On February 3, 2025, the court delivered its verdict, convicting Ruggia of on a minor by an authority figure for acts committed between 2001 and 2004, deeming the assaults proven beyond based on the victim's testimony and contextual evidence from the film's production. He was sentenced to four years in prison, with two years to be served under with an electronic bracelet and the remaining two suspended, plus a €15,000 fine and five years of supervised release; Haenel was awarded €15,000 in damages for emotional harm. Ruggia's lawyers announced plans to , calling the ruling disproportionate given the absence of corroborating . The case marked one of France's first major #MeToo convictions in cinema, though critics noted its reliance on testimonial evidence amid debates over statutes of limitations for historical abuses.

Legacy and Cultural Impact

Influence on Actors' Careers

Adèle Haenel made her film debut in Les Diables at the age of 12, portraying the mute and resilient Chloé alongside her on-screen brother Joseph. Her performance in the film, which premiered at the on September 4, 2002, drew early critical notice for its raw intensity, establishing her as a promising talent in French cinema and paving the way for subsequent roles that solidified her prominence, including her breakthrough in Water Lilies (2007). Haenel's involvement stemmed from an open casting call initially aimed at her brother, highlighting the film's role in discovering young actors through non-traditional channels. Vincent , aged 15 during production, also debuted in a leading role as , the protective autistic sibling, marking his entry into feature films after minor television work. The film's positive reception, including an 82% approval rating on based on 13 reviews, contributed to Rottiers securing immediate follow-up opportunities, such as roles in Narco (2004) and My Angel (2004), which expanded his presence in French drama and genres. Both ' starring turns in Les Diables provided critical exposure at major festivals, fostering trajectories that emphasized character-driven narratives over commercial blockbusters. Supporting cast members like Rochdy Labidi (Karim) and established performer Jacques Bonnaffé (Doran) experienced less transformative impact, with the film serving more as an ensemble credit amid their ongoing work rather than a pivotal launch. Overall, Les Diables functioned as a foundational project for its young leads, enabling Haenel and Rottiers to build resumes grounded in indie European cinema before transitioning to higher-profile international collaborations.

Broader Societal Reflections

The conviction of director in February 2025 for sexually assaulting during the production of Les Diables underscored longstanding vulnerabilities in the French film industry's treatment of child performers, particularly in projects demanding intense emotional or physical portrayals from minors. The film's narrative, centered on an autistic girl and her brother evading institutional care amid themes of and abandonment, required Haenel, aged 12 at the time, to deliver performances that blurred artistic demands with , a dynamic that courts later found enabled grooming and manipulation without adequate safeguards. This case revealed causal gaps in oversight—such as insufficient parental involvement, absence of on-set psychologists, and deference to directors' authority—that allowed power imbalances to persist, echoing patterns observed in other industries where creative autonomy often overrides child welfare protocols. In , where cinematic tradition has historically prioritized auteur freedom over regulatory intervention, the trial marked a pivotal shift in #MeToo accountability, contrasting with earlier industry resistance exemplified by support for figures like despite documented abuses. Haenel's 2019 public allegations via investigative outlet , followed by her 2020 protest against Polanski's César nominations, catalyzed broader scrutiny of how French cultural institutions had minimized minor-on-minor exploitation claims, often framing them as artistic necessities rather than ethical failures. Empirical outcomes, including Ruggia's four-year sentence (two years suspended), demonstrated judicial willingness to apply statutes of limitations flexibly for childhood traumas, prompting unions like the Société des Réalisateurs de Films to advocate for mandatory intimacy coordinators and psychological evaluations—measures already standard in U.S. productions but resisted in Europe until recent convictions. The scandal's ripple effects extended to public discourse on labor in media, highlighting empirical data from industry reports showing higher rates of long-term issues among former stars exposed to high-stakes roles without support structures. While mainstream coverage emphasized victim advocacy, critical analysis reveals selective outrage: similar allegations against non-"" figures often receive less attention, suggesting institutional biases favor protecting elite networks over uniform protections. This realism-driven reflection urges evidence-based reforms, such as verifiable filming logs and independent advocates, to mitigate risks without stifling creative output, as unchecked imbalances demonstrably foster over innovation.

References

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