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(DENIAL) UN FILM DE Mick JACKSON Rachel Tom Timothy WEISZ WILKINSON SPALL (DENIAL) UN FILM DE Mick JACKSON D’après l’ouvrage de Deborah E.Lipstadt Scenario de David HARE SORTIE LE 26 AVRIL 2017 Durée : 1h50 États-Unis/Royaume-Uni/ 2016 DISTRIBUTION PRESSE SND GROUPE M6 ETIENNE LERBRET 89 Avenue Charles de Gaulle [email protected] 92575 Neuilly sur Seine Cedex 01 53 75 17 07 / 06 60 97 34 45 36 rue de Ponthieu, 75008 Paris Dossier de presse et photos téléchargeables sur www.snd-films.com SYNOPSIS Deborah Lipstadt (Rachel Weisz), historienne et auteure reconnue, défend farouchement la mémoire de l’Holocauste. Elle se voit confrontée à un universitaire extrémiste, avocat de thèses controversées sur le régime nazi, David Irving (Timothy Spall), qui la met au défi de prouver l’existence de la Shoah. Sûr de son fait, Irving assigne en justice Lipstadt, qui se retrouve dans la situation aberrante de devoir prouver l’existence des chambres à gaz. Comment, en restant dans les limites du droit, faire face à un négationniste prêt à toutes les bassesses pour obtenir gain de cause, et l’empêcher de profiter de cette tribune pour propager ses théories nauséabondes ? NOTES DE PRODUCTION Les producteurs Gary Foster et Russ Krasnoff ont découvert l'existence de Deborah Lipstadt et de ses travaux il y a environ huit ans. "À l'époque, nos enfants, qui ont le même âge, postulaient pour entrer à l'université", se souvient Krasnoff. "Je me renseignais sur Emory University, à Atlanta, où Deborah est professeur d'histoire et d'études juives modernes. L'université venait d'annoncer l'obtention d'un fonds d'un million de dollars pour traduire son site Internet, "HDOT: Holocaust Denial on Trial" [La négation de l'Holocauste devant la justice, NdT], qui recense tous les PV de son procès, en farsi, arabe, russe et turc. Je me suis dit que c'était formidable qu'une université se lance dans un tel projet et j'ai eu envie d'en savoir plus sur elle". Krasnoff s'est alors procuré un exemplaire de l'ouvrage de l'historienne, "Denial: Holocaust History on Trial" – antérieurement publié sous le titre "History on Trial: My Day in Court with a Holocaust Denier [L'histoire face à la justice : mon procès avec un négationniste de l'Holocauste, NdT] –retraçant le procès en diffamation que lui a intenté David Irving. Selon ce dernier, Deborah Lipstadt et son éditeur, Penguin Books, avaient tenu des propos diffamatoires à son encontre. "Non seulement c'était un sujet majeur, mais un récit palpitant", reprend le producteur. "Avec Gary, on s'est dit qu'il y avait là matière à un film formidable". En menant leurs recherches, les producteurs ont appris que le négationnisme concernant la Shoah était beaucoup plus répandu qu'ils ne le pensaient. Il était soutenu par plusieurs personnalités aux États-Unis et en Europe, ainsi qu'au Moyen-Orient, et notamment par l'ancien président iranien, Mahmoud Ahmadinejad. "Ce ne sont là que des opinions travesties en faits", indique Foster. "On peut être animé par une conviction, une passion et une croyance, mais cela n'en constitue pas un fait avéré. C'est ce qui a largement contribué à notre décision de nous lancer dans ce projet et de l'accompagner sans faille pendant les huit ans qu'il nous aura fallu pour le porter à l'écran". En 2008, alors que Foster et Krasnoff produisaient LE SOLISTE à Los Angeles, Jeff Skoll et Jonathan King de Participant Media se sont rendus sur le tournage, dans le quartier de Skid Row. En apprenant que les deux producteurs souhaitaient s'atteler à un film autour du procès de Deborah Lipstadt, Skoll et King ont aussitôt voulu y participer. "Ils ont immédiatement acquis une part de production", se souvient Foster. "La mission de Participant consiste à produire des films à fort contenu sociétal. Cette histoire leur correspondait parfaitement mais il nous a fallu pas mal de temps pour mettre en place la bonne équipe". En 2012, Foster et Krasnoff développaient un autre projet, MY OLD LADY, en collaboration avec BBC Films. Christine Langan, ancienne présidente de BBC Films, a suggéré aux deux producteurs de rencontrer le dramaturge plébiscité et cité à l'Oscar David Hare, pressenti pour transposer le livre en scénario. Christine Langan avait travaillé avec l'auteur sur une trilogie de téléfilms sur le MI5 et estimait qu'il était l'homme de la situation. "Ce genre d'histoire n'intéresse plus vraiment le cinéma commercial américain", déclare Hare. "SPOTLIGHT est une exception mais c'est une œuvre singulière dans le paysage cinématographique américain actuel. Ils étaient convaincus que la sensibilité de la BBC était nécessaire pour aborder un drame politique s'inspirant autant de la réalité". Hare, cité à l'Oscar pour son adaptation du "Liseur" de Bernhard Schlink, évoquant un procès pour crimes de guerre nazis, explique qu'il n'a pas perçu immédiatement l'importance historique de l'affaire Deborah Lipstadt. "Je n'en ai compris la portée que le jour où j'ai dû écrire des dialogues prononcés à Auschwitz. Pour la première fois, j'ai senti que j'étais investi d'une responsabilité toute particulière". C'est la perspective de défendre une vérité historique objective qui a poussé Hare à s'engager dans ce projet. "Il fallait que je sois inattaquable en matière d'authenticité des faits, afin que les ennemis du film – les partisans de David Irving – ne puissent pas m'accuser de réécrire l'histoire", confie-t-il. Dans cette optique, Hare a épluché les archives officielles pour que les scènes de prétoire soient parfaitement documentées. "Il me fallait quatre à cinq heures pour lire les minutes d'une journée de procès. Vous pouvez imaginer ma réaction première : 'Faut-il vraiment que je lise les minutes de 40 jours de procès ?' Je ne pouvais en aucun cas inventer des situations qui ne se sont pas produites au tribunal". D'ailleurs, il n'a pas eu besoin d'imaginer de moments chargés en émotions. Tous les dialogues des séquences de prétoire reprennent littéralement les échanges consignés dans les archives officielles. Hare signale également un événement réel, évoqué au début du film : Irving a assisté, contre toute attente, à une conférence de Deborah Lipstadt à Atlanta, dans le but de perturber son intervention. "Il s'est mis à agiter une liasse de 1000 dollars au-dessus de sa tête et à crier : 'Je le donne au premier d'entre vous capable de prouver qu'Hitler a ordonné l'assassinat des Juifs !'", poursuit le scénariste. "C'est devenu une séquence inaugurale d'une force dramaturgique peu commune. Mais la véritable énigme à mes yeux, c'est de savoir pourquoi David Irving a choisi Deborah Lipstadt. Pourquoi s'est-il acharné sur elle ?" S'il considère que cette décision est très révélatrice de la personnalité d'Irving, Hare explique qu'il n'avait pas l'intention de brosser "le portrait d'un antisémite". Il souligne : "Ce film ne s'attache pas au psychisme d'Irving : on ne le voit, pour ainsi dire, qu'à travers le regard de Deborah, si bien que je ne me sentais pas habilité à expliquer son comportement. Il se comporte d'une manière sidérante, comme en témoigne son attitude tout au long du procès, et je ne cherche aucunement à l'expliquer. Je ne suis pas qualifié pour me prononcer sur son état psychologique. Il n'y a pas de non-dit ou de sous-texte le concernant : il n'y a que les informations dont tout le monde dispose". D'origine anglaise, Mick Jackson s'est vu confier la réalisation du PROCÈS DU SIÈCLE suite à son parcours impressionnant : on lui doit ainsi un immense succès au box-office (BODYGUARD), un téléfilm primé à l'Emmy (TEMPLE GRANDIN) et de nombreux documentaires et drames pour la télévision britannique. "Je viens du documentaire, j'aime les histoires vraies et j'adore tourner dans ce style-là", rapporte-t-il. "J'essaie, dans la mesure du possible, de tourner caméra à l'épaule et d'imprimer un style très fluide à la mise en scène. Le livre de Deborah me correspondait parfaitement. J'ai été très sensible à son sens du détail, comme par exemple son souci de savoir qui siégeait à tel endroit dans le prétoire, ou encore la couleur de la cravate de Richard Rampton". Le réalisateur a également été séduit par la dimension actuelle du sujet du film. "On vit à une époque de folie et de mensonge, une époque d'excès et de violences et de déformations en tous genres de la vérité", estime Jackson, ajoutant qu'il avait une motivation plus personnelle pour s'attaquer à ce projet. "Quand j'étais tout jeune réalisateur pour la BBC, j'ai travaillé sur une série documentaire intitulée THE ASCENT OF MAN. On a tourné un épisode à Auschwitz. Le seul fait d'être sur place m'a bouleversé. Quand j'ai reçu ce scénario, je me suis dit : 'il faut que je réalise ce film'". D'après lui, le titre du film – "Denial" en anglais, c'est-à-dire "le déni" ou "la négation" – a un double sens : "Pour gagner son procès, qui a trait au négationnisme de la Shoah, Deborah ne doit pas céder à la tentation de s'adresser directement à ce monstre au tribunal", dit-il. "Ce geste d'abnégation est son seul espoir de déjouer les accusations d'Irving". Jackson compare le film à une partition musicale dont les thèmes récurrents existent à part entière mais se répondent les uns les autres. L'un des fils conducteurs est le déroulement du procès et l'attente de son verdict.
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