Were you ever worried about bringing out into the open the extremely sensitive and complex issues at stake in international finance?

I began by focusing on Denis Robert’s first investigation where, in my mind, the backbone of the film lies. Afterwards, screenwriter Stéphane Cabel nudged me along with these simple words: “This story can not be restricted to only one character’s point of view like you did for Alain Marécaux in your last film Présumé coupable.” Immediately all the other characters took shape in my mind, starting with Judge Van Ruymbeke. After Présumé coupable, this character allowed me to show another side of the French judicial system, by shedding light on an investigating magistrate who did positive work. Eventually, the film helps the audience understand the workings of this extremely complex case, which until now only a select few had been able to untangle. But financial secrecy remains, as does our powerlessness faced with this colossal system made up of tax havens, leading international banks, intangible flows of capital, and money laundered by the mafia with everyone’s knowledge. It is a reflection of our times. We know the source of our troubles, but nobody acts on it.

Did you encounter any difficulties putting the project together or were you subject to any pressure?

I was pleasantly surprised by the support we received from the Film Fund of the Grand Duchy of Luxembourg, without which the film undoubtedly would never have been made. Thanks to this support and help from Belgium, we were able to shoot the film in Luxembourg, with actors from Luxembourg. Nevertheless, I did not expect the French magistrates to forbid me from shooting at the Paris courthouse, when the film shows Judge Van Ruymbeke in a positive light.