Mireille Stengel testifies first, reversing prior statements by denying any role in storing or destroying art, then contradicting herself about entering the attic. The prosecutor introduces a psychological report concluding she knowingly destroyed the works to punish and control her son. Stéphane Breitwieser protests the prosecutor’s attacks and defends his mother.

Stengel’s lawyer emphasizes her difficult life and victimization, softening the court’s view. Stengel is convicted of handling stolen goods and destroying public property but serves less than four months in jail, followed by monitored probation.

Anne‑Catherine Kleinklaus then denies noticing art, claims fear and coercion, and minimizes the relationship. Breitwieser interrupts to recount their intimacy but ultimately continues to protect her. The prosecutor highlights her active role and prior arrests together, yet her lawyer argues domination and wins a lenient outcome: one night in jail and an expunged record, allowing her to resume work.

Breitwieser, receiving little support from either woman, is sentenced to two years. In prison and a halfway house he studies, works as a lumberjack, and reconnects emotionally with his mother, who forgives him but refuses further details about the destruction. He moves into a bare apartment, takes menial jobs, and feels adrift without art.

Though barred from contacting Anne‑Catherine, he writes to her; she alerts authorities. For violating probation he serves fifteen days, injures his hand in anger, and accepts that the relationship is over. He withdraws into solitude, marked by the loss of both art and partnership.