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Just let them in what we call free narrative,as they tell their tale, let them do that. Try not to be too shocked or to show that you're shocked.
And also let them know that you will look after them, keep them safe,but you will probably have to take some action about it.
They're not going to come out straight awayand say, "Yes, this has been happening."And they'll need to know that you won't be too shocked by what they might say.
So it's about how you give permission to the child to talk about anything. Just let them tell you in their own wordsand in their own way what has happened. You might want to ask a question or two, but don't endlessly question the child.
The girls are hard to get because they're afraid; there's not much of a comfort zone for anybody in this world.
Paradoxically, perhaps, or simply because this is essentially a girl's story, the most violence we see is girls-on-girls.
Yannik pals around with Jo's younger brother, Khalidou ((Jimmy Woha Woha), who's Jo's responsibility, there being no parents in evidence.And why we need to talk about it is, it feels such a huge step to taketo actually accuse someone of sexually harming a child. When you talk to children you have to bear in mind their stage of development.And if you're talking to a five-year-old,obviously your approach is going to be quite different to a 14-year-old.Except for Jo, it's a given that most of the boys are stuck, but their constant concerns are impressing each other, working their little deals, and above all losing their virginity (the word "virgin" is a as bad a put-down as "fag").Seduction was as central in L' Esquive as violence was in La haine. In fact the movie begins with Mouss (Oumar Diaw), who's black, practicing in the mirror the rap he'll use to score with Daphne (Salome Stevenin), who's white.