Documentary screens at film club

On September 22, 2026, the documentary film Haute Solitude was screened at Reflet Médicis as part of the L’Histoire film club. The event included a discussion between director Laurent Véray and historian and film critic Antoine de Baecque.

Inspiration from Jean Zay's family

Véray explained that the idea of making a film about Jean Zay came to him in 2013 when he met the daughters of Jean Zay, Catherine and Hélène, who provided him access to their father's archives, including about sixty photographs from his time in Riom prison. Véray had a personal connection to the subject, having worked at the newspaper La Montagne in Riom and attended the Jean Zay school group in kindergarten and primary school.

Access to Jean Zay's documents

Véray received a hard drive containing all of Jean Zay's documents, which included letters and the book Souvenir et Solitude, written by Jean Zay in prison. The film uses these materials to explore his life and thoughts during his imprisonment.

Cinematography and historical style

Véray discussed the film's use of black and white cinematography to connect with the historical photographs and to subtly erase traces of the present. The film transitions to color at the end, depicting Jean Zay's life flashbacks, including images of his family, political career, and youth.

Collaboration with experimental filmmaker

Véray collaborated with experimental filmmaker Othello Vilgard to create a sequence representing Jean Zay's unconscious just before his death. This sequence adds a psychological dimension to the film's portrayal of his final moments.

Jean Zay's literary output

Jean Zay's writing was described as essential for his survival and resistance. He wrote extensively in prison, including detective novels, short stories, and meditations, and read works by Victor Hugo, Zola, Proust, and Shakespeare. His writing also served as a form of resistance, such as when he transcribed the Riom trial for his wife, Madeleine, who published them clandestinely in the newspaper La Montagne.

Archival materials and collaborators

Véray selected archives that illustrated Jean Zay's daily life in prison, his political career, and personal reflections. He collaborated with Éric Caravaca in three stages: recording a first version of the screenplay, working on the voice and rhythm with Isabelle Poudvine, and re-recording the screenplay to better embody Jean Zay's texts.

Personal side of Jean Zay

The family photos provided an intimate view of Jean Zay's life, showing his role as a family man and adding humanity to his image as a political prisoner. His last letter was signed with his full name, indicating a more solemn tone and suggesting it was his final words.

Legal and historical context

Jean Zay was condemned in a military court by Vichy for desertion and treason. Two of the militiamen who executed him died in the battles of the Liberation, while the third escaped to Spain, was arrested in 1953, and was sentenced to prison but released after two years. Jean Zay's body was identified three years after his assassination, thanks to a testimony from the militiaman.

Legacy and political significance

At the time of the Liberation, Jean Zay was expected to have a significant political future. His close associates kept his memory alive, and his texts were published in 1946. He was pantheonized in 2015. His trial was conducted by the same court that condemned de Gaulle and other politicians who resisted Pétain.

Comparisons and historical parallels

Véray suggested that Jean Zay had the profile to join de Gaulle's Free France movement. Jean Zay did not attempt to escape, possibly due to concerns for his family's safety. A comparison was drawn between Jean Zay and Marc Bloch, both of whom analyzed contemporary society with sharp insight while in prison.

Film and historical accuracy

Véray did not take inspiration from a play based on Jean Zay's writings but acknowledged that some elements might overlap due to the subject matter. Jewish politicians such as Léon Blum were the only survivors of a persecution that saw Jean Zay, Georges Mandel, and Victor Basch assassinated around the same time. The orders for Jean Zay's assassination came from Darnand, as found in departmental archives in Clermont-Ferrand. The film did not face censorship, and Véray emphasized the importance of the story in highlighting the dangers of political persecution.