Three years after the release of her most recent directorial work, Algerian-French filmmaker Sabrina Nouchi has just marked her return to the silver screen industry with a bold new project last month. True to her style, the Paris-based creative brought the same sense of urgency that made her previous titles so impactful to tackle a wide range of social issues — including the harrowing realities of sexual violence and the institutional failures that perpetuate cycles of trauma in modern-day France.
Set not far from the French Riviera, in the cosmopolitan city of Marseille, Ca Arrive — which can translate to It Can Happen in English — follows three investigators as they grapple with a flood of gender-based violence cases. The two-hour-long feature, which is directed with Nouchi’s trademark blend of raw realism and cinematic depth, probes the professional and personal lives of these officers—a team of two men and one woman—working together as they engage with victims and their respective testimonies.
Teetering around the notions of both systemic injustice and legal neglect, in the 36-year-old’s own words, “I’ve wanted to make a film about sexual violence for the past 10 or 12 years, but I kept facing producers who didn’t think the topic was marketable enough,” she shared with MILLE.
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Through their interactions with victims of different ages, genders, and social backgrounds, Ca Arrive sheds light on the complexities of confronting such pervasive violence, exploring everything from the personal biases of the investigators themselves, the vulnerability of the victims, their devastating experiences, and the gaps in the legal system that still hinder true justice. As the crew intended, the film emphasizes on the frequent recurrence of such acts — it can happen to anyone, anywhere, at any time — playing with the title itself to highlight its all-encompassing nature.
In theaters since Nov. 28, we sat down with Nouchi to explore the inspiration behind Ca Arrive, her unique approach to storytelling, and the message she aims to communicate through this thought-provoking examination of justice and trauma. Below, a transcript of our recent conversation with the filmmaker.
Tell us about yourself. Who are you and how did you get into the world of cinema?
I started as an actress when I was seven-years-old, but my traits weren’t the most represented, and back then in France — and still today — my features weren’t those we’d look for at castings, so I didn’t get any work. I then started directing, but I kept facing the same producers with their limited views on what kind of movies work. So, I decided to make my own movies, with my own money. Now, I can express myself beyond the limits of the French mindset.
At what point in your journey in cinema does Ca Arrive come at?
I’ve wanted to make a film about sexual violence for the past 10 or 12 years, but I kept facing producers who didn’t think the topic was marketable enough. In the meantime, I made other films that touched on the subject, without fully focusing on it. Then, the desire came back, and since I produce my own work, I get to do what I want. This time, I wanted to make a film about sexual violence against both women and men, showcasing various accounts and reactions, like a snapshot of the current state of things.
What first sparked the idea for this film? Was there a specific moment or experience that inspired it?
I was in class at my school , “La Fabrique de l’Acteur,” and I was coaching a scene and one of the actresses in the film, Emmie Poinsot, was doing an improv exercise, where she had to portray a sex worker. And I wondered, if this woman had been raped, how would she be received if she filed a complaint? I wanted to see that, and then I also wanted to explore other portraits. That’s how the idea was born.
Did you work with experts, survivors, or advocacy groups to build an authentic and informed storyline?
With my co-screenwriter Catherine Sorolla, we didn’t need to work closely with people for whom this is part of their daily life. We’ve been immersed in it for a long time; it’s part of the daily news, and we all know someone to whom it’s happened to. So, unfortunately, it was easy to write. However, we did consult a police expert, Laurent Dave, to ensure that the criminal procedure was credible, as well as the vocabulary that was used. He corrected small mistakes and made certain scenes more believable.
How did you approach balancing the heavy subject of sexual violence with moments of humor and hope?
You know, I live in reality; I don’t sugarcoat anything, I’m not about being politically correct—reality is what it is. And the reality is that, in times of pain or stress, the brain sometimes escapes into humor, in the midst of pain, a smile can emerge. It’s human; these are defense mechanisms the brain puts in place to survive. So humor was necessary if I wanted to remain credible in portraying human beings. After a period of great despair, usually, if you keep going, hope emerges. Life is a balance— nothing exists without its opposite.
What impact do you want it to have on both a personal and collective level?
I’m not here to play the role of the one giving lessons. When I make a film, I make it, period—I don’t think about the impact it will have. That’s for the audience to decide. Because if I focus on impact, I’ll have to make a film that will impact the largest number of people, but as you know, we don’t all react to the same things in the same way. So I write, I make it, and then each person receives it as they can. It’s personal to each individual, but above all, I don’t steer it or create any intentional impact.
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When you watch the final cut, does it match what you imagined when you started?
Yes totally! The movie is exactly how I pictured it.
What’s next for you? Do you already have another idea brewing?
A lot! But I have to choose! Either I close the subject with another movie I’ve wanted to make for 15 years, or I completely change direction and make a dark comedy.
