Roskam's 'Le Faux Soir' Reimagines WWII Resistance Prank as Heist Comedy
Belgian director Michaël R. Roskam's new film 'Le Faux Soir' dramatizes the 1943 incident when Resistance journalists replaced the Nazi-controlled newspaper Le Soir with a satirical fake edition. The film, described as 'Ocean's Eleven but with a newspaper,' premieres at TIFF and is being sold by Goodfellas. Roskam discusses the story's origins and why satire is a powerful tool against authoritarians.
The film's genesis traces to co-writer Bernard Falaise's university coursework on media piracy and satire, which coincided with the 2015 Charlie Hebdo attacks in Paris—a timing that shaped the project's perspective on humor as resistance. Roskam, a Flemish-speaking director, was unfamiliar with the story, which remained largely unknown outside French-speaking Belgium, mostly remembered by Le Soir subscribers through annual anniversary articles.
Roskam deliberately avoided a satirical tone, instead framing the operation as a logistical heist: the dangerous part wasn't writing jokes but publishing them under occupation. His research covered 1940s humor, linotype machines, and the practical mechanics of intercepting a Nazi-controlled newspaper, emphasizing realistic characters over comedic stylization.
The film could reframe public understanding of wartime resistance, highlighting media sabotage and satire as forms of defiance alongside armed struggle. It may resonate with contemporary audiences concerned about press freedom and authoritarianism, offering historical precedent for humor's political power. The Charlie Hebdo connection embedded in the story's development adds modern relevance, potentially sparking conversations about satire's limits and risks in today's polarized media environment.