The term ‘true story’ appeals to filmmakers and audiences alike, but it also brings challenges around privacy and creative freedom. Fabrice Du Welz discusses his approach in the thriller ‘Maldoror’, based on the Dutroux case, where he changes names and situations to maintain independence. In ‘Iedereen is van de Wereld’, written by Barbara Jurgens, names and details are changed, but there is contact with the real people. These approaches show the complexity and ethical considerations of adapting true stories into films.

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