The film’s starting point is Emmanuel’s testimony at a police station, which he secretly records on his phone. The Deposition delivers a relentless critique of the French church and judicial system as well as Emmanuel’s own parents, particularly their response to the sexual violence he endured as a 13-year-old at the hands of a priest. Through this lens, the film creates an empowering alternative sphere for discourse.
What makes the film so compelling is Emmanuel’s relatable pursuit of accountability for his trauma and its study of his interactions with family members. His cousin – both the filmmaker and cinematographer – actively supports Emmanuel’s protest by shifting the planned thematic focus of her documentary during filming. His father, a pivotal figure in the story, is initially reluctant to confront the past but eventually agrees to talk, ultimately offering Emmanuel his unwavering support. The proximity of the two buildings in this French village serves as a striking visual metaphor: Emmanuel’s childhood home stands directly opposite the church. Films like The Deposition carve out a powerful political space where critique transcends personal grievance, instead positioning itself within a vital societal, feminist-queer discourse – one that resists erasure and silence.