The Girl with a Bracelet

In the center is Lise, a sixteen-year-old who stands accused of killing her best friend. The courtroom becomes the arena where a close-knit family clings to hope for their daughter while the outside world weighs every whisper of evidence. Her parents sit through the proceedings, offering support and seeking answers, even as they sense the case may reveal fractures in what they believed about their child. As the trial unfolds, layers of Lise's life beyond the classroom begin to surface, friendships, online interactions, and choices that feel innocent to some and damning to others. The film shows how memory and testimony can diverge, leaving truth slippery and open to interpretation, inviting careful listening from the audience for them and us.

Directed by Stéphane Demoustier, the film is written by Ulises Porra and Gonzalo Tobal. It presents an original screenplay, delivering a restrained courtroom drama with a sharp eye for character and moral ambiguity, and its brisk pace heightens tension today.

Box office data isn't publicly disclosed; the picture had a modest theatrical run in France and limited international distribution, a common fate for arthouse crime dramas. Its reception skews toward critics who praise performances and the film's restrained tone worldwide.

This title has not sparked a broad pop culture ripple, but it contributes to conversations about how youth, privacy, and truth intersect in legal spaces. Its quiet approach allows it to linger on the emotional weight of each testimony. It serves as a quiet reminder that courtroom storytelling matters today.

Critics describe a restrained intimate drama where ambiguity prevails over definitive conclusions. The film probes how a young girl's private world, family bonds, and the courtroom gaze interact to shape perceptions of innocence and guilt, revealing how truth can often be slippery. Its themes linger after the credits are over.