French Guiana, to say the least, is rarely portrayed in cinema – perhaps we might witness its captivating landscapes, its verdant jungle, its coastline, maybe even its gold mines. These backdrops and embellishments are the very elements that Maxime Jean-Baptiste , director of “Listen to the Voices”(“Kouté vwa”) – showcased in the Filmmakers of the Present section at the Locarno Film Festival and sold by MoreThan Films – sought to avoid at all costs.

When asked by Variety about how he aimed to depict Guiana, Jean-Baptiste mentions, as a counter example, “Jean Galmot, Aventurier,” a French ‘70s adventure film, in which his father was an extra – something essential in his shorts “Nou Voix” (2018) and “Moune Ô” (2021). In fact, most of Jean-Baptiste’s work is a family matter – besides those titles, he co-directed “Listen to the Bear of Our Images” (2021) with Audrey Jean-Baptiste, his sister, who also co-wrote “Listen to the Voices.”

What makes “Listen to the Voices” a family project is not just this collaboration, but the personal tragedy that inspired it. The director’s cousin, Lucas Diomar, was tragically killed in 2012, leaving his family in deep sorrow, a pain they have yet to fully overcome. 13-year old Melrick, Lucas’ nephew, is spending his summer break at his grandma’s home in French Guiana to escape his “lame” life in Stains, Paris. While Nicole – Melrick’s attentive grandmother – seems to have found a way, if not to move on entirely, then at least to accept the loss, Yannick is deeply scarred by witnessing the death of his close friend firsthand, and therefore “stuck in time,” Jean-Baptiste told Variety . Seeking to portray these different stages of grief, the director wondered: “How could I create a film that might help to heal their wounds?”

The original title of the film – “Kouté vwa” is French créole for “Listen to the Voices” – aptly summarizes its poetic theme: a chorus of intertwined testimonies. Drawing upon the deeply personal source of the story, the film brings together these diverse voices, creating a space where they can resonate with each other. To achieve this, the production team collaborated closely. “I asked them: How do you want to see yourselves portrayed? We removed many scenes because they didn’t align with [their ideas]; it was a collaborative process. It was very emotional for all three actors, as they are at different points in their grieving process.” This collective effort results in a captivating blend of documentary and fiction. Jean-Baptiste states that, ironically, “fashion actually created a distance that made it easier – for me, but also for the main characters – to tell their stories.”

“Nicole, for example, wasn’t comfortable with the documentary format of me asking questions… so Audrey and I rewrote the script, making it more like fiction.” However, Jean-Baptiste hasn’t abandoned his documentary roots. The poignant opening of “Listen to the Voices” consists of slowed-down TV footage of a carnival honoring Lucas’ memory: “My previous films were made up of archival footage that I edited extensively,” he says. “I wanted to maintain this aesthetic and translate it into a cinematic experience, but also merge it with a more natural approach.”

In perhaps the most moving scene of the film, Nicole is seen driving down a highway with Melrick in the backseat. As the camera focuses on their faces, she recounts a surprising encounter with one of the individuals responsible for her son’s death. Driven by pain and her desire for retribution, she was ready to confront the perpetrator, seeking to restore justice. Although she ultimately chose not to act, the anecdote nevertheless reveals the historical background of this violent act.

At its core, this narrative of grief and forgiveness also explores the lingering effects of colonialism: a violence that cannot be easily erased. This aspect, though undeniable, is subtly conveyed by Jean-Baptiste, as it's not a topic the characters readily address. “I wanted to let them use their own words. Because I have my own words: I will say that French overseas departments are colonies. And when I say that, some people agree, but other people don’t… For instance, Nicole won’t say that, and I have to accept that.”

While “Listen to the Voices” aimed to guide the characters through part of their healing process, their grief doesn't completely disappear in the end – just like the colonial violence that still persists, and lies at the heart of the interpersonal violence depicted. This inherent ambiguity points to the film's own ambiguous approach to storytelling: “Neither can we know if Melrick will stay here or return to France, nor if the violence will happen again. We don’t know how Nicole will handle the future: she cannot hold the life of Melrick forever. At some point he will have to get by on his own.”