For a first attempt, it’s a masterstroke. The Sixth Child, Leopold Legrand’s first feature film, won the Audience Award, the Music Award for Louis Sclavis and the Screenplay Award at the Angoulême Francophone Film Festival. The actresses Judith Chemla and Sara Giraudeau, for their part, shared a trophy for their interpretation, the first as a mother who has too many children, the second as a lawyer who cannot get pregnant. With the agreement of their respective husbands (Damien Bonnard and Benjamin Lavernhe), they make an unlikely agreement for the rich family to raise the new toddler that the scrap dealers cannot afford to keep. This illegal arrangement will plunge the quartet into trouble that puts their agreement, and then their mental health, at risk. The director does not fall into any of the traps that this adaptation of Crying rivers, a novel by Alain Jaspard (ed. Héloïse d’Ormesson) could have feared. There is no pathos in the film. Benevolence without complacency “My film tells of the meeting of two worlds that rarely see each other, underlines the director. We tried to edit this meeting without caricaturing it. The couple from Travelers like their wealthier interlocutors ring true when they are united around their common goal: the happiness of the unborn child. The family chronicle takes on the air of suspense to describe the evolution of characters always treated with a benevolence that excludes any complacency. It is a very fine talent that Léopold Legrand reveals.