a Fabienne Lips-Dumas & Domino Production (BE), project (90’/52’) – December 2018
Anti-insurrectional and dirty war, « The Troubles » foreshadow nowaday’s struggle against islamic terrorism in Europe - The « Northern Irish Metaphor » is here revealed for the warning.
Fifty years after the rise of the « Troubles », resumed after a 30 years conflict with the Good Friday Agreement between the Catholics and Protestants of Northern Ireland, families of the victims are still fighting for the truth about what happened to their loved ones. Today, confronted with terrorism, Western states turn to this conflict as a reference. Against the violence of the paramilitary factions and the IRA, the response of the British government was based on intelligence, propaganda and an army of secret agents. Twenty years after the peace agreement, whistleblowers and victims of intelligence alert us on the consequences on the society of a spreading the Northern Ireland metaphor all over Europe, and the setting up of task forces involving all services of intelligence, police and army in intricated and shady ways.
Filmed in Northern Ireland, Game of Truth joins five families of victims, dives into the world of information, doubles agents and their contacts, infiltration of terrorist groups, secret operations and impunity, denunciating crimes committed by terrorist groups while supported by the British State.
In today’s world where information is the weapon of preference against terrorist cells, the experiences of these families helps us understand the drivers and limitations and to question the rules of this dangerous game which upsets our laws and the human rights principles on which they have been erected.
In this country, everyone knows that there will be no peace without reconciliation and no reconciliation without truth and without justice. Yet hundreds of victims' families are still struggling to reveal the truth about the disappearance of theirs and collide with the silence and obstructions of the state. Confronted with aborted investigations, criminal omissions, lies, secrets, silence, Kafkaesque delays, these families abandoned by the british judiciary are condemned to a mourning which, according to them, only truth will allow.
Today, they make the investigation that the police does not. They search the archives, accumulate newspaper clippings, return to the crime scene, find witnesses, exhume bodies to check the records of forensic pathologists and ballistic reports, go back to the murder weapon. In this careful work of ants to denounce attacks, assassinations and serial killers, families face the ruthless world of police and army double agents and protected informers, to confront intelligence service and state security.
Catholics, Protestants, soldiers, policemen, all have been victims of a network of espionage subject to skidding. A detective from Scotland Yard, sent to investigate on collusion in Northern Ireland, stated that the conflict had been aggravated and prolonged by a nucleus of agents of the state. The British government has twice apologized publicly. Seeing the determination of families, apologies will not suffice. Not if they are substitutes for the truth.
The visual style will be borrowed to the film noir and to crime stories, with Belfast as the theatre of the investigation, still dated from the seventies, with its red bricks houses, its double decker busses, walls painted to remind the events, and the separation wall still standing. Vintage objects will be brought in the scene as well, attached to night sequences, bringing abstract scenes to nourish the fearfull and mystery atmosphere. The surveillance atmosphere will be rendered through reverse shots in windows, car mirrors, and low or high angled shots, or hidden ones. Movements of camera will be dynamic, creating an urgency to the story, allowing also an editing in a jump cut style.
Archives will be involved in illustrating the testimonies of the families, or in flash backs for more emotional moments. Documents will be used in an entertaining way, used in reconstruction of investigations, placed on a mural panel. They will be brought also in a contemporary manner during the meeting with characters, on their laptop, on their cellphone.
Animation will be used with the aim of proving reconstructions of events in a defiant way towards police’s conclusions.
The soundtrack will be marked by the times of the Brit pop and rock hype, abstracting from the dark world of espionage and research.
Director / Fabienne Lips-Thomas is an experienced director of Theatrical and TV Documentaries, based in USA, who cooperated with numerous television channels as ARTE, France Televison, Radio Canada, Canal +, as recently with the acclaimed « Winds of chemical war»), which she has directed with the support of Domino Production.
Production house / Domino Production is a production company created by Sergio Ghizzardi focusing on documentaries. Our objective is to produce documentary films, reports and television programs that wake up of the viewers to the social realities – political, economic and/or cultural – of our contemporary times. For us, it is essential to reach a broad audience in a positive manner by putting into perspective the work of those in charge of building our society. Domino Production has during all these years coproduced or collaborated with various television in the world such as RTBF, VRT, ARTE, TV5, RTE, ERT, Star TV, YLE, SVT, ORF, RTP, Phoenix TV, LCP, EST TV, PBS Taiwan.