ABSTRACT
In March 2002, when everyone was expecting Jean-Pierre Jeunet’s Amélie to win the Oscar for Best Foreign Film, another French work was chosen. Indeed, Murder on a Sunday Morning won the Oscar for Best Documentary. The subject of the fi lm, which Americans might call a “dramamentary” or “docudrama,” was the trial of a fi fteen-year-old Black-American accused of the murder of a Caucasian tourist in Florida. The director JeanXavier de Lestrade chose to give his fi lm the impact of a work of fi ction, from which he actually borrowed a few conventions.
