Laëtitia

Series | French with English subtitles | 1 season (6 episodes). Each episode is 45 minutes

Info
Based on a true story. Eighteen-year-old Laëtitia’s scooter is found  on the road in front of her foster home located in western France. Her frantic twin sister Jessica notifies the police. The detectives are troubled.  Laëtitia is missing, no clues to her whereabouts, and presumed dead. Jessica is traumatized and can’t contribute any helpful information. Writer/director De Lestrade moves back and forth, utilizing flashbacks, showing the twins being abused by their foster father. The investigation to find Laëtitia and the frustrations encountered by the police arouse the indignation of the French public including French President Nicolas Sarkozy.  
Cast
Sophie Breyer (18-year-old  Jessica) / Marie Colomb (18-year-old Laëtitia) / Léwine Weber (6-year-old Jessica) / Milla Dubourdieu (6-year-old  Laëtitia)
Why Stream This Film?
A riveting mystery more psychological than procedural, it depicts how the childhoods of twin girls become scarred by an abusive father.
Accolades
  • Laëtitia is the first French television series to be selected for the Sundance Film Festival (in the “Indie Episodic” category.

Now streaming on:

It might have been possible to fashion a first-rate nonfiction film out of the Laëtitia story, but it is only through actors and their direction that we get the full picture. Mr. De Lestrade is using the tools of fiction to tell a story all too true.
John Anderson

The Wall Street Journal

LAËTITIA  is an anguished, impeccably made mini-series based on a 2011 murder case that riveted France. Writer/director De Lestrade  pieces together a somber portrait of a provincial society awash in male anger and violence and a bureaucracy whose good intentions can be thwarted by budget cuts, political posturing and demoralization.
Mike Hale

The New York Times

The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.
Anthony Lane

The New Yorker

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